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Wesley s star is dawning. "Dinty," the
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.. tfeccrier Charming and pretty musical comedy with
-wo- ■ (Continued on page tn V

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Stage Plays Tkat Are Wortk While

Readers in distant towns will do well to preserve this list for future reference.

Apollo. — "Jimmie." The pert little
Frances White's first starring vehicle and a
rather lame musical entertainment. Miss
White introduces several typical gamin
numbers and her surrounding company in-
cludes Ben Welch and Harry Delf.

Astor. — "Kissing Time." Slender musical
entertainment with William Norris and
Edith Taliaferro featured.

Belasco. — "One," with Frances Starr,
Edward Knoblock's opus of twin sisters
with but half a soul apiece. Neither sister
can get along without the other, hence the
drama. Miss Starr plays the twins. Mr.
Belasco's handling of this play saves it
from slipping over the line from serious
drama.

Belmont. — "French Leave." Mr. and
Mrs. Coburn in a frail little farce of life
behind the lines during the war.

Bijou. — "The Skin Game." A new and
decidedly interesting drama by John Gals-
worthy. One of the real things of the
dramatic season. A study in class strife
which many critics look upon as a minia-
ture study of the late world war. Will
absorb you. Very well played.

Booth. — "The Prince and the Pauper,"
with William Faversham. New adaptation
of that interesting Mark Twain fantasy
of boyhood in merrie England of the old
days. Well staged by Rollo Peters and
acted with considerable spirit, particularly
by Mr. Faversham.

Casino. — "Honeydew." Pleasant musical
entertainment with charming score by Ef-
rem Zimbalist, the violinist. Mile. Margu-
erite and Frank Gill score with their dancing.

Central. — "Af gar." Oriental extrava-
ganza featuring Delysia, fresh from Lon-
don and Paris. Hide your blushes before
you go to this. Delysia has a certain
naughty piquancy. The chorus is costumed
in special Paul Poiret creations.

Century. — "Mecca." A gorgeous and
elaborately colorful "mosaic in music and
mime" of ancient Egypt along the lines of
"Chu Chin Chow." "Mecca" achieves
several rarely beautiful moments in the
ballet interludes created by Michel Fokine.
A huge cast and fourteen scenes.

Century Promenade. — New York's new-
est dinner and midnight entertainment,
"The Century Review" and "The Midnight
Rounders." Colorful girl shows for the
tired business man. A delightful place to eat.

Cohan. — "The Tavern," with Arnold
Daly. Delicious and at times screamingly
funny satire upon all the melodramas ever
written. A jazz mystery play, brimful of
laughs. Mr. Daly is delightful as the mys-
terious vagabond.

Cohan & Harris. — "Welcome Stranger,"
Aaron Hoffman's story of a Shylock in a
New England town. Presents the battle
of Jew and Gentile in a way that the He-
brew gets much the best of it, teaching a
whole town kindliness and religious tolera-
tion. George Sidney is excellent as the
twentieth century Shylock.

Eltinge. — "Ladies' Night." About the
most daring comedy yet attempted on
Broadway. This passes from the boudoir
zone to the Turkish bath on ladies' night.
Not only skates on thin ice, but smashes
thru now and then. John Cumberland is
admirable.

Empire. — "Call the Doctor." Jean Archi-
bald's slender little comedy built around a
charming feminine doctor of domestic dif-
ficulties. The production shows David Be-
lasco's smooth stage direction and is very
well acted, particularly by Janet Beecher
as the physician in question.

Forty-Fourth Street. — D. W. Griffith's
master-production of the rural melodrama,
"Way Down East." Splendid in many
ways with many moving moments and the
biggest — and most thrilling — climax since
the ride of the clansmen in "The Birth of
a Nation."

Fulton. — "Enter, Madame." The best
thing — dramatically speaking — in New
York at the present moment : a vivid study
in artistic temperament ; the story of a
butterfly opera singer. Gilda Varesi strikes
fire in this role and gives a superb per-
formance. Norman Trevor plays her hus-
band admirably.

Garrick. — "Heartbreak House." The
world premiere of George Bernard Shaw's
newest dramatic comment upon world
affairs. Talky possibly, but flashing with
brilliant wit and decidedly interesting. Very
well presented by the Theater Guild.

Hippodrome. — "Good Times." Another
big and picturesque Hippodrome spectacle.
Nothing like it anywhere else on earth.
Plenty of entertainment.

Liberty. — "The Half Moon." A pleasant
and clean musical comedy of the old pre-
shimmie school. Nice cast numbering the
always amusing Joseph Cawthorne, Ivy
Sawyer, May Thompson, Joseph Santley
and Oscar Shaw.

Neiv Amsterdam Roof. — Ziegfeld 9 o'-
clock and midnight revues. Colorful en-
tertainments unlike anything to be found
anywhere else.

Nora Bayes — "Three Live Ghosts." De-
lightful comedy of three soldiers, reported
killed in Flanders, who return home to find
surprising problems awaiting them. Adap-
ted by Frederic S. Isham from his own
novel. Splendidly played by Beryl Mercer,
Charles McNaughton, Stewart Wilson,
Cyril Chadwick and Charles Dalton.

Palace. — Keith vaudeville. The home of
America's best variety bills and the fore-
most music hall in the world. Always an
attractive vaudeville bill.

Plymouth. — "Little Old New York."
Rida Johnson Young's delightful but fragile
little romance of New York in 1810, with
John Jacob Astor, Cornelius Vanderbilt,
Peter Delmonico and Washington Irving
among its characters. Genevieve Tobin
runs away with the piece — and scores one
of the biggest personal successes of many
seasons. Here is a Maude Adams in the
making.

Sehvyn. — "Tickle Me." An Arthur
Hammerstein early autumn show with the
amusing Frank Tinney starred. Consider-
able fun, some tuneful music and a very
personable chorus. Likewise gorgeous
costuming.

Shubcrt. — "Greenwich Village Follies of
1920." Gorgeous and beautiful, as typical
of John Murray Anderson productions.
Here is a musical entertainment with im-
agination and charm. James Reynolds has
created some remarkable scenes and cos-
tumes and the whole ensemble is vivid and
colorful.

Times Square Theater. — "The Mirage,"
with Florence Reed. The first offering in
Broadway's newest theater. Edgar Sel-
•wyn's drama of New York's easiest way :
the tale of a country girl who comes to
the white lights and forgets her ideals.
Miss Reed plays the girl and prominent in
the cast are Alan Dinehart, Malcolm Wil-
liams and Florence Nash.

Vanderbilt. — "Irene." Now in its 'steenth
season and likely to run on forever.
Charming and pretty musical comedy with
(Continued on payc 0> v '

^-IVlCTlC

A BREWSTER PUBLICATION

Established December, J9J0. "We lead, others follow," and it was ever so _

Motion Picture Magazine

(.Trade-mark Registered)
Founded by J. Stuart Blackton

Vol. XXI FEBRUARY, 1921 No^J

Entered at the Brooklyn, N. Y ., Post Office as second-class matter.
Copyright, 1921, in United States and Great Britain by
Brewster Publications, Inc.
Subscription — $2.50 a year in advance, including postage in the United States, Cuba, Mexico and Philippines; in Canada,
$3.00; in foreign countries and Newfoundland, $3.50. Single copies, 25 cents, postage prepaid. U. S. Government Stamps ac-
cepted. Subscribers must notify us at once of any change of address, giving both old and new address.

Issued on the 1st of the month preceding its date and on sale by all newsdealers.

Published by Brewster Publications, Inc., Adele Whitely Fletcher, Editor

a JNew York Corporation.
EUGENE V. BREWSTER, President and Editor-in-Chief Frederick James Smith, Managing Editor

E. M. HEINEMANN, Secretary rT _ AT „ T „

ELEANOR V. V. BREWSTER, Treasurer Hazel Simpson Naylor Guy L. Harrington

Principal place of business, 175 Duffield Street, Brooklyn, N. Y. Pa "fi c Coast Representative d „ n *"n'X DmX'jr.

(Also Publishers of the Motion Picture Classic, out on the Gladys Hall Director of Advertising

fifteenth of each month, and Shadowland, out on the Papitot a W Ashwosth Rufus French, Inc.

twenty-third) Capitola W. Ashworth Eastern Manager

. ,, ~ ~T E. M. Heinemann Archer A. King, Inc.

kit^^t^t ™**"™™™™ at,0 " 8 J . _ 4 „„„, Associate Editors Western Manager

MOTION PICTURE MAGAZINE %7A3E? *„«,.,

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CONTENTS PAti " :

Gallery of Players. H

Portraits in gravure of Wesley Barry, Faire Binney, Miriam Cooper, Ann Forrest,

Justine Johnston, Louise Glaum, Dorothy Dickson, Wanda Hawley and Marjorie Daw.
The Lily Maid of the Shadows 20

Picture page of Lillian Gish.

The New Cinema Year Mary Roberts Rinehart 21

Coffee Pots and Crowns. . . Hazel Simpson Naylor 22

Betty Blythe asks the impossible.
The Unretouched Portraiture H. R. H. 24

A word picture of Antonio Moreno.
The Twain Meet 26

Pictures of Lon Chaney in two characterizations.

Dorothy Gish 27

A sketch of the popular comedienne.

Reconsidering Pearl Adele Whitely Fletcher 28

The first interview with Pearl White in two years.

The New Monte Carlo 30

The Old Hokum Bucket Malcolm Oettinger 31

Revelations concerning the "cut-and-dried comedy stunts" of the cinema.

Black Beauty Norman Bruce 33

A novelization of the famous classic.

What's What in Scenarios John Emerson and Anita Loos 38

The Human Note Gladys Hall 40

A pen picture of Mrs. Sidney Drew.

Contest Resume 41

Summing up the past contest on the threshold of the new.

That's Out Tamar Lane 42

Cinderella o' the Cinema 43

Agnes Ayres caught in an attractive pose.

Roles and Results Janet Reid 4.5

An interview with Sylvia Breamer.

The Jucklins Gladys Hall 47

The new Paramount photoplay told in story form.

Along the Starry Way Miles Hammond 52

As it flashes thru the Twin Cities of Joy.

The Marsh Flower Maude Cheatham 54

Yes, Mae, herself, and a peek at another flower also.
The Admirable Optimist Sue Roberts 57

A personality story of Theodore Roberts.

The Editor's Page 59

Flapper Fair. Lillian Montanye 60

An interview with Elinor Fair, leading woman in "Kismet."

To Please One Woman Janet Reid 63

The Actionized version of a Lois Weber production.

The Movie on the Briny Deep Wesley Ruggles, U. S. N. 68

The Hoosier in Gotham Betsy Bruce 69

A New Heroine for Barrie Willis Goldbeck 70

The Forman of the Megaphone Harriette Underbill 72

Across the Silversheet -idcle Whitely Fletcher 74

California Chatter Hazel Simpson Naylor 78

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Stage Plays Tkat Are Worth
While

(Continued from page 6)

an appealing story. Patti Harrold, daugh-
ter of Orville Harrold, is now the Irene
and she is delightful. You will hear more
of her.

Winter Garden. — "Broadway Brevities."
Another typical Winter Garden revue, sans
satire but plus girls. Bert Williams fur-
nishes most of the real fun, altho George
LeMaire and others are also present.

ON TOUR

"The Lady of the Lamp." A fanciful
and highly colored fantasy by Earl Carroll.
Built about an opium dream which reveals
a tragic romance of old China. A certain
charm is here. George Gaul is admirable
and Henry Herbert gives a remarkable
portrayal of a sinister Manchu chieftain of
centuries ago.

"The Guest of Honor," with William
Hodge. A typical sugar-coated Hodge
vehicle, in which virtue is shriekingly
triumphant. Nowhere near life, but pleas-
ant bunkum.

"The Charm School." An appealing
light comedy with music, based upon Alice
Duer Miller's story of the handsome young
bachelor who inherits a young ladies' finish-
ing school: Minnie Dupree, James GleaSoh,
Sam Hardy and Marie Carroll are effect-
ive.

"The Poor Little Rits Girl.". A musical
play enjoying a long run. Andrew Tombes
heads the cast.

"Crooked Gamblers." A lively and thrill-
ing comedy-melo of the financial district,
in which a guileless young inventor of auto-
tires defeats the- Wolf of Wall Street.
Taylor Holmes starred.

"Foot-Loose" with Emily Stevens. Zoe
Akins' well-done modernization of the old
melodrama, "Forget-Me-Not."

" Happy-Go-Lucky." Ran a long time in
London as "Tilly of Bloomsbury." A typ-
ical British comedy by Ian Hay. O. P.
Heggie runs away with the comedy as the
bailiff's bibulous aid.

"Cinderella on Broadzvay." Typical girl
entertainment designed for the tired busi-
ness man. The extravaganza is based upon
the fairy adventures of Cinderella. Plenty
of girls, passable music, attractive costumes
and a little humor.

"George White Scandals of 1920." Lively
and well-thought-out musical revue with
lavish and swiftly changing scenes, plus
many pretty girls. Paint succeeds stock-
ings and tights in several numbers. Ann
Pennington is the shining light of the revue.
"Abraham Lincoln." You should see this
if you see nothing else from the New York
stage. John Drinkwater's play is a note-
worthy literary and dramatic achievement,
for he makes the Great American live
again. "Abraham Lincoln" cannot fail to
make you a better American. Moreover, it
is absorbing as a play. Frank McGlynn is
a brilliant Lincoln.

Loews N. Y. and Loevtfs American
Roof. — Photoplays; first runs. Daily pro-
gram.

Loew's Metropolitan, Brooklyn. — Feature
photoplays and vaudeville.

Capitol. — Photoplay features plus a de
luxe program. Superb theater.

Rivoli. — De luxe photoplays with full
symphony orchestra. Weekly program.

Rialto.— Photoplays; supreme. Program
changes every week.

Strand. — Select first-run photoplays.
Program changes every week.

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lOTlONpiCf

iail_ MAGAZINE

Alice Lake and Stuart Holmes in "Body and Soul" a Metro Picture

The thrill that the movie millions love !

h a
v 2

. JFi,

THE fascination of the photoplay has
reached into every nook and corner of
human life throughout the Universe! It
enthralls one and all — childrenfrom seven
to seventy! Men and "women in all walks
of life, the high and the humble, the poor,
the middle class, the rich — the toiler and
the man of ease, the woman of fashion and
the shop girl, the lady of leisure and the
woman who works — the clerk, the conduc-
tor, the lawyer, the doctor, the broker, the
banker — all intermingle and sit side by
side at the Movies! All are swayed by the
same feelings as they watch the film's rapid
picturizations of the Moving Finger of
Fate — as they even see things pictured
that have happened in their own lives, or
the lives of their friends — so the movie
screen is The World's Looking Glass, where-
in it sees reflected all its own emotions!

Yes, all the world goes to the Movies!
All humanity wants its thrill! Thousands
of Movie shows in thousands of cities daily,
nightly, are packed with throngs of eager
people with a keen appetite for realism,
romance, tragedy, pathos, humor — they
want to see and feel every human emotion
it is possible to portray!

AND all this Movie madness sweeping
. the world has revealed startling things !
Do you know one strange thing the Movies
have done? They Have Produced Thou-
sands op Promising New Playwrights —
men and women photoplay writers who
get their ideas merely from seeing photo-
plays night after night!

These people not only produce wonder-
ful scenarios, construct vivid plots, weave
romantic, tragic, serio-comic or humorous
situations, but they also write many of the
wonderful little magazine stories you read.
For to learn the one thing automatically
teaches you to do the other. And now the
big rush is on! So many men and women
are beginning to write photoplays success-
fully! It Really Isn't Hard to Learn
o.Write a Photoplay — It Really Isn't
IP Write-^-^ory! It's

no longer a mystery. The secret's out! And
hosts of bright people are eagerly talcing ad-
vantage of it and learning how! With the
right instruction^ they become thrilled and
fascinated by^the lure of scenario writing,
and eagerly concentrate all energies on it at
every opportunity — for the scenario and
magazine editors are ever calling for more
plays and stories — more and more are
needed daily, weekly, as more photoplay
houses are built, and more film companies
organized — and wider grows the fascina-
tion of the photoplay.

SO right here is your big, vital, gripping,
romantic opportunity — in an irresisti-
ble profession that carries with it a world
of surprising new possibilities, that lifts
you up to new honors, new environment,
fine friends, exalted purpose, and the ad-
miration of all your family and fellowmen.
YOU may learn to write photoplays and
stories — yes, you! YOU who have always
doubted you could — YOU who thought it
was some mythical, mysterious magic that
only geniuses dare attempt.

All the ideas, all the material, all the
suggestions, the spur to your imagination,
you can get at the Movies, by a method
described in a wonderful New Easy Sys-
tem of Story and Play Writing published
at Auburn, New York. . *It is called The
Irving System and is for the millions who
go to the Movies and vi/ant to learn how to
write photoplays and stories. In a word,
The Irving System is for you.

It teaches you: How to attend the
Movies and adapt scenes, incidents, mo-
tives, titles, characters to your own pur-
poses and plans for photoplays; it shows
you how easily you may get ideas for photo-
plays every time you go to a picture play;
how to switch around any play and make
it a realistic story totally unlike the one
from which you adapted it; how to take
characters you see in any picture and re-
construct them for your own photoplay;
how you can easily rebuild any plot you
see; how simple it is to revise and rebuild

dialogue; how to begin writing photoplays
in the easiest, simplest, surest way; how
to demonstrate to yourself it doesn't take
genius to write them, but plain common
sense and earnest effort.

The wonderful Irving System also shows
you how to make an interesting test of your
own ability after the next photoplay you see;
how to familiarize yourself quickly with
every rule of writing photoplays; how to
learn all of the interesting terms used in

photoplay production, such as close-up, semi-close-
up, iris and dissolve, masks, visions, the lap-dis-
solve, double exposure, the flash, reverse-action,
and many others; how to quicken your own imagin-
ation; how to spur your ability to adapt ideas from
plays you see; how to lift yourself out of the rut
of life and do something fascinating as well as
profitable; how to develop all the finest and best
there is in you — how to win your way to public
recognition; how to thrill and enthuse thousands;
how to take the short cut to success!

SO to get you started on the Road to Realization;
The Authors' Press, originators of the Irving
System, are going to present to you absolutely free
the most enchanting illustrated book you ever read,
called "The Wonder Book for Writers," and
filled with many things that will be good news to
you — revelations, information, ideas, helps, hints,
and pictures — pictures of Movie stars, scenario
writers, authors, photoplay
Studio scenes — that will thrill
you with all the possibilities
that play writing holds for
you.

Get a new grip on life —
get into the sphere of clever,
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Send me Absolutely Free, "The Wonder Book!
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<*"

Paramount Pictures
listed in order of release

(November 1, 1920, to March 1, 1921)

George Melford's Production
"Behold My Wife-
Ethel Clayton in
"Sins of Rosanne"

Wallace Reid in
"Always Audacious"

*Enid Bennett in
"Her Husband's Friend"

Billie Burke in
"The Frisky Mrs. Johnson"

Bryant Washburn in
"Burglar Proof"

George Fitzmaurice's Production
"Idols of Clay"

Dorothy Dalton in
"A Romantic Adventuress"

Thomas Meighan in

"Conrad in Quest of His Youth"

A Wm. De Mille Production

Dorothy Gish in
"Flying Pat"

A Cosmopolitan Production
"Heliotrope"

Roscoe ("Fatty") Arbuckle in
"The Life of the Party"

Bryant Washburn in
"An Amateur Devil"

Lois Weber's Production
"To Please One Woman"

Wm. S. Hart in

"The Testing Block"

A Wm. S. Hart Production

*Enid Bennett in
"Silk Hosiery"

temyjmtjWjWfjW+^^^^^^mM^}*!*!)

Letting yourself in
for a good time !

Four from this family.

And four's all, or the line
would be longer, because this
little thing is unanimous.

Entertainment for the whole
family, undivided, is Paramount
Picture's long suit.

A family more than five mil-
lion strong every day.

Watch the happy groups at
any good quality theatre tonight,
any night, matinees, too: there
you have the folks who know
the secret!

Paramount is THERE with the
good time — THERE at ten thou-
sand and more theatres — are you
keeping the date? And picking
your pictures by nahie?

^m^mmmmmvvmmmvwww wmmmmism 'i mm iS,

Continued from first column

Maurice Tourneur's Production

"The Bait"

Starring Hope Hampton

Dorothy Dalton in

"In Men's Eyes"

Wallace Reid in

"The Charm School"

George Melford's Production

"The Jucklins"

A Cosmopolitan Production

"The Inside of the Cup"

Billie Burke in

"The Education of Elizabeth"

*Douglas MacLean in

"The Rookie's Return"

William De Mille's Production

"Midsummer's Madness"

George Fitzmaurice's Production

"Money Mad"

Thomas Meighan in

"The Frontier of the Stars"

A Charles Maigne Production

Roscoe ("Fatty") Arbuckle in

"Brewster's Millions"

Dorothy Gish in

"The Ghost in the Garret"

Cecil B. De Mille's Production

"Forbidden Fruit"

*Douglas MacLean in

"Chickens"

A Cosmopolitan Production

"The Passionate Pilgrim"

Charles Maigne's Production

"The Kentuckians"

Ethel Clayton in

"The Price of Possession"

A Lois Weber Production

"What Do Men Want"

;e
b

*A Thomas H. Ince Production

•; FAMOUS PLAYERS -LASKY CORPORATION HI 1 !

!kS^3i!>233«C©03M^^

paramount (/*ictur&s

, /

Caruso immortalized

A vast heritage of arts and literature has been bequeathed
to the world by the passing centuries, but it remained for
the Victrola to perform a similar service for music.

It has bridged the oblivion into which both singer and
musician passed. The voice of Jenny Lind is forever stilled,
but that of Caruso will live through all the ages. The greatest
artists of the present generation have recorded their art for
the Victrola, and so established the enduring evidence of
their greatness.

There are Victrolas from $25 to $1500.
New Victor Records on sale at all dealers on
the 1st of each month.

Victrola

Rcq. u.9*.P4T. OFF.

Victor Talking Machine Co.

Camden, New Jersey

'•O w'rite A PH0T0PLA1 — ^- . , i

./ Itr YV ^._ t .. , J JTft wrttr-A ^tory! it's see; now simple .

This trademark end the trademarVcd word
"Victrola" identify oil our products. Look
under the bd I Look on the label I

VICTOR TALKING MACHINE CO.
Camden. N. ).

' P'

PAG Li/

MIRIAM COOPER

Miriam prefers playing under the direction of her husband, Raoul Walsh, to starring. She refused a splendid
contract that she might remain under his wing, and is appearing in the pictures he is producing for Mayflower

T *

^*£^

I'llnt,. ,;r:i|>ri by Kvatis. 1. A ©

ANN FORREST

Success came to Ann, but had this not been the case, she would have fought for it. for she belongs to the
Vikings, and she coveted success. A* present she is playing in "The Faith Healer" for Famous Players

PA6li

o WRlTii-A ^ ORY1 It's see; now simpie

JUSTINE JOHNSTON

Photograph by Geislcr & Andrews, N. Y.

Justine is another of the fair who have deserted the footlights for stardom on the Screen. Her next Realart
offering will be "Moonlight and Honeysuckle," the stage success

LOUISE
GLAUM

Louise Glaum
has brought a
new vampire to
the Screen, and
we find her un-
der s t a n li-
able, quite a
human being.
Perhaps that is
why her new
Screen siren
has become so
popular

1'hotograph © by Abbe

1 ■

DOROTHY
DICKSON

Dorothy first
flirted with fame
while tripping
the light fantas-
tic along the gay
White Way, to
the nightly de-
i light of the cab-
aret habitues.
Now she's bark-
ening to the di-
rectorial call at
the Famous
Players studios,
where she's ap-
pearing in "Pay-
ing the Piper,"
the new Fitz-
maurice produc-
tion

Photograph by Abbe

— — *l » ■ ■■ "■•-.

Photograph © by Evans, L. A.

WANDA HAWLEY

Wanda's fair tresses made her one of the most sought-after leading women. Then Realart laid stardom at
her feet, and Wanda has been reigning over her fan subjects ever since

I -

EMHHMMMMB

■

Pliotoeraph by Evans

MARJORIE DAW

Marjorie has several claims to prominence. In the first place, her nursery rhyme name, and in the second,

the fact that she is a protegee of Geraldine Farrar's ... not to mention her chararterizations in the

Marshall Neilan productions, most recent among them, "Dinty"

Tke Lilj) Maid of tke Shadows

Posed b$ Lillian Gish
in "Wa;9 Down East"

lA6£

^ '~0 WRITE A 1-HOTUriiAi-

! •^-■^.vmi.Krj.Q WRIT!

r QRY! It's see; how simp.-

THE influence of the moving pic-
ture is gradually dawning on the
minds of both producers and au-
dience. The influence has always been
there, but its. recognition is urgent and
imperative. Any constructive program
of pictures for the coming ye,ar, there-
fore, must take into consideration two
things : what the nation wants in its pic-
tures, and what it should have.

There has been a distinct change in the
quality of picture demanded during the
past two or three years. Owing to better
production and better theaters, the aver-
age in intelligence of the audience has
steadily risen. Yet there are still some
producers who persistently insult that in-
telligence, who cater to the lowest rather
than the best in human nature, and whose
influence, from a national standpoint, is
distinctly bad. So hungry is the world
just now for laughter and distraction that
these pictures are accepted. But there is
humor that is not cruel, comedy that is
not vulgar, and love that is not vicious
or abnormal.

The moving picture is the greatest
single agent for good or evil in the coun-
try. It reaches audiences greater than the

united church or the united press. Its
influence on public morale is unbounded,
and on private morality enormous. In the
present disturbed after-war conditions it
can, without obvious propaganda, be a
national stabilizer. It can and should
give us love, clean melodrama and high
adventure. But it must also show the
fallacy of evil, and the value of hap-
piness, normality and decency.

This is not only what the people should
have, but is what they want. The pro-
ducers who realize this will find that
virtue is a highly valuable commercial
asset.

But there is something further. The
need of the average human being today
is for something greater than himself.
Call it faith. Call it spirituality. Call
it what you will. The re-action from the
hatred of war is love. From the violent
deaths of war, a desire to believe in that
thing we had so generally disregarded,
the human soul. "The Miracle Man"
was but an expression of a vast longing
for faith.

The coming year must recognize that
need and meet it.

PA&I

■*

BETTY BLYTHE asked me to
do the impossible !
Betty asked me to
. visualize her as
living in one room
on delicatessen food
and cooking her
coffee over a
gas-jet.

It just could
not be done —
for, at the
time, Betty
was being
fitted to the
beads that
comprise one
of the numer-
ous costumes
which she is
wearing as the
Queen of Sheba in
the Fox production of
that name. And Betty is
the very reincarnation of the
beauty — pagan, exotic, colorful
(ft — that we have all imagined was the
22
AGC

Coffee Pots
ana Crowns!

pride and exclusive possession of those his-
toric court beauties ; Cleopatra, Sheba
Marie Antoinette, Helen !

And yet she describes her magnificent
gold tissue costumes, her robes of silver
chiffon, pearls, pale blue encrusted with
precious stones, of black and jet, and purple
and gold, of crimson and white — in fact, too
many costumes to enumerate successfully
here, as "Cute as pie" — and she speaks of
the days when she cooked aforesaid coffee
over a gas-jet and thought $25 a week a
fortune, with an equanimity which stamps
her as that most wonderful of all creations :
an American girl who has realized her am-
bitions and hasn't forgotten the struggle.

Betty's ambitions were of the soul-absorb-
ing kind. She didn't care where she lived,
what she ate, wnat she wore, providing she
had money enough to pay for her studies.
Every penny she could spare from the week-
ly stipend, gained from her very small be-
ginnings on the stage, was spent in lessons,
vocal lesson.s, Shakespearian lessons — she
could go without food, could Betty — but not

without study.

Knowing Betty,
I can understand
the statement of a
friend of hers, who
lived with her dur-
ing the coffee gas-
jet era:

"It would have
been a tragic

Photograph (left) by
C. H. Monroe

/ see; how simp**

By
HAZEL SIMPSON NAYLOR

thing," said she, "if Betty had. not
succeeded. Her ambition was so
tremendous, so overwhelming. She
worked so hard. She was so de-
termined to reach the top."

In the beginning, Betty wanted to
be a Shakespearian actress. One
day when she had reached one of
the milestones in her allotted path,
New York, she was returning home
from her Shakespearian lesson. It
had been an inspiring lesson and
Betty was traveling on clouds. The
necessity of getting home intruded
itself into her dreams and she
walked up to a policeman.

"Tell me, my good man," she
said, her dark eyes agleam, "doth

Photograph (above) by
C. H. Monroe

Betty Blythe cannot stand
women who do nothing, wom-
en who chatter, whose main
object in life is to loll away
the hours like the lazy but-
terfly. "They bore me hor-
ribly . . . we have nothing in
common," she says. "I can
understand men better, men
who accomplish things." Top,
a new portrait, and left, as
the Queen of Sheba

yon bus stop at yon corner ?"
The policeman blinked, then
swore, then nodded yes,—

"Sure, Miss, and the next
time ye better bring a guardian
with you."

In those days Betty was as
thin as her pocket-book. They
(three aspiring girls who
boarded and struggled togeth-
er) used to pin ruffles under
her waists to give her the de-
sired curves — today, but that comes later.

One of the girls* — they were living at the Chicago Fine
Arts Club at the time — bought a bit of pink silk lingerie
for two dollars and fifty cents. Betty nearly fainted at
such unheard of extravagance.

"I dont care if I never have another," protested her
friend, "I've got to have the feel of silk just this once" —
and Betty can remember thinking at the time that she
couldn't have been quite decent to want silk so badly.

Yet all three of the room-mates participated in the pro-
longation of that silk garment's existence. They used to
take turns washing it out in their basin every night, for
one of them had read that Kayser silk wore twice
(Continued on page 100)

^^gg^g^ggmmKmmmmmmmmmmmmmmmmmmmmmmHtmmtmmtm

rrKe

Unretouched
Portraiture

N interview usually is
a taken-while-you-
eat chromo of a per-
son. It is made by
appointment, preferably at
luncheon. The lighting is mel-
low. The subject invariably is
posed. As a rule, the proof is
slightly retouched.

I know, because I have in-
terviewed.

The process is thus defined
in order to define what this
vite intime is not. This is not
a demi-tasse flashlight. It is a
composite of many contacts.
If it is not entirely life-like, the
flaw is in the focusing, not in
the timing or printing. There
has been no attempt to retouch.
The subject of my portrait-
ure is Senor Antonio Garrido
Monteaguo Moreno. No bet-
ter proof of my intimacy is
needed than that I can spell his
entire name correctly and even
pronounce it with the right
xylophonic cadence. I have
seen Tony nearly every day for
a year. I long ago took the liberty of calling
him by nickname. He invariably addresses
me with profane endearment. Tony is one of my best friends.
I make this explanation in case anyone accuses me of breach of
confidence in reproducing his faults along with his excellencies.
I wouldn't be his friend if 1 didn't like his faults.

The theme of his individuality, to which all lineaments are
relative, is his nationality. He is a Spaniard, an inalienable
Spaniard. Like the vast majority of his countrymen, he is in-
tensely patriotic. The patriotism of Spaniards, as Havelock
Ellis will tell you, puts to shame that of most Americans. They
not only love their country dutifully ; they love it passionately,
inalienably, unto death.

All Spaniards, no matter what their station or business, have
access at all times to Tony. They come in delegations. Not in-
frequently their greeting is touching — deeply touching. I have
urged upon Tony tKe need for a barrier against imposition, not
only upon his pocket but his time.

"I know, I know," he exclaimed frantically one day when at-
tacked by a clan of prolific countrymen, who had camped on
his "set" all day and requisitioned everything from signed por-
traits to boxes of cigars. "I know. But what can I do, I ask
you? I cant turn them away. That wouldn't be right. I am
not above my own people." — An argument which left me mute.
But money never causes Tony any great agitation. He has
the Spaniard's typical contempt for it. He once remarked to
me with all earnestness, just after he had dispatched a larger
check than he could well afford just then to the Los Angeles
Orphans' Asylum :

"I tell you, I'd give away everything above my living expenses
if I was sure I could work right up until the time
I die."
c H Mon P roe by L. a. This orphanage happens to be It's pet hobby.

t. -

By H. R. H.

He and Tommy Meighan are
the official fathers; Mary
Pickford the official mother.
Tommy and he were the honor
guests at the annual entertain-
ment presented by the children.
Always impressionable, Tony
was completely captivated by
the amateur performance.

"I never was more affected
by a professional show," he de-
clared. "I give you my word,
those kiddies are wonderful.
To see how tickled they were
when Tommy and I applauded,
— I tell you, it did my heart
good.".

A few days later I heard
him talking over the telephone
to Sister Cecelia, the mother
superior of the home. Did she
get his check? How were the
children? Yes, yes, he would
be over soon. Would Sister
Cecelia be his next leading
lady? No? Well, that was
too bad. She should be in pic-
tures. He hung up, laughing.

"I like to kid Sister Cecelia.
She always is scolding me for
not going to church. I told
her that she and the kiddies
did me more good, and she
said I was very bad."

If he is positive in his likes,
he is just as positive in his dis-
likes. Tony knows no medium.
He is either an enthusiastic
supporter or an enthusiastic
antagonist. His pet abomina-
tion is conceit. He doesn't
comprehend it. His own hum-
ble origin is omnipresent with
him. Once I took occasion to
observe that he needed a vaca-
tion. His work in serials per-
mitted no intervals for recre-
ation, such as afforded with
feature productions. I argued
that he was working too hard.

"You make me laugh," he replied with crushing con-
tempt. "Work too hard, — my word ! Say, do you know
that there are boys working as bookkeepers and salesmen
and reporters for fifty dollars a week who never have a
day off? Yes, and a lot of them have more brains than
I have — than you, too."

I remonstrated that there were several stars with less
brains than we who worked less and earned more.

"No, no, brother," — his characteristic negation — "I have
no kick coming."

Tony's arguments, like fire, are not to be played with.
It is much better to let them run their course. His ex-

Photograph by Bangs, N. Y.

plosions are terrific in temper-
ature but nothing in duration.
Again — typically Spanish.

An incident occurred only
recently. An advertising solic-
itor for a cheap magazine per-
sisted in foisting a hundred
dollar ad upon him. It was
one of those glum days, when

Tony's entire outlook is pessimistic and suspicious. The

solicitor infuriated him with veiled threats of blacklisting.

(Continued on page 106)

A camera study of Antonio.
His best role is that of host.
He likes to entertain at din-
ner and has the finesse of the
European for the details of
gallantry. Affectation is im-
possible to him. He must feel
the part or he is out of the
picture

2 -J

i >

The

Twain
Meet-

When Kipling said "For East is East
and West is West, and never the twain
shall meet," the silversheet had not dis-
covered Lon Chaney. In Lon Chaney,
who first came into prominence thru
his characterization of the deformity in
"The Miracle Man," the twain are ap-
parently one ... In Universal's "Out-
side the Law" Mr. Chaney can slip
from a portrayal of the tough from the
dark streets of the city to the Oriental,
almond-eyed, inscrutable, with apparently
no difficulty. His characterizations num-
ber among the finest which the screen
has reflected

Dorothy Gish

as Sketched by

CERLINE BOLL

27 ■

PA6 Li j

Photograph (above) by
Alfred Cheney Johnston

SCREEN personali-
ties — illusions.
Interviews —
Not disillusions,
necessarily, but experi-
ences calling for a recon-
struction of that person
as a type.

The seasoned and ex-
perienced interviewer
never sets forth upon a
quest without mental
shock-absorbers. You
never can tell. Some-
times the vampire is
found rocking the cradle
while the becurled in-
genue, philosophizes thru
shallow tea-talk and
scented cigaret smoke.

Seeing Pearl White, if
only for a comparatively
short time in her dress-
ing-room, causes you to
reconsider her. On the
screen, until recently, she
has defied death in "The
Perils of Pauline" and
Other thrillers, apparently
immune to fear. And
while she has always been
attractively clothed in
these serials and has look-
ed quite as intelligent as
it would seem humanly
possible for anyone to
look while they perform
si une feat, you would not
expect her to be just as
she is.
28

Reconsidering
Pearl

She had not yet reached the studios
when I arrived, altho the Press Depart-
ment told me that she was expected any
moment — that she had telephoned she
would be a few
minutes late.

They were quite
In a few
minutes some digni-
tary announced that
she had arrived and
I was hurried stu-
diowards. As we
reached a huge fire-
proof door, someone j
moved from before |
it, announcing :

She calls her admirers
"customers," and has
written, in addition to
her biography, "Just
Me," several poems,
among them, one on
baseball, about which
she admits she knows
nothing. Left and be-
low, two new por-
traits. In the latter
she is wearing one of
the gowns she brought
back from France

right

lA££

ADELE WHITELY
FLETCHER

"Miss White is right inside. I've
/been standing here so she couldn't
:get away."

"Temperamental or irresponsi-
ble," I thought and girded myself
with courage anew.

We passed thru the doorway and

in the passage stood a girl, notrvery

; large and cloaked in dark blue with

a fuzzy wool checked collar and

a big blue and white straw hat.

It was Pearl.

She looked up from beneath the
broad hat brim :

"If you'll come up to my room
and there are two chairs not occu-
pied by clothes, being either packed
or unpacked, we can talk there,"
she offered and I followed.

We accosted William Fox, presi-
dent of the company, and he smiled
in greeting.

Miss White looked at him
blankly.

I marveled.

Then —

"Oh, I remember you," quoth
Pearl. "You're Mr. Fox. Of
course."

And Mr. Fox laughed — then
Pearl laughed and we continued
our way thru a log cabin and then
a conservatory until we reached the
end of the studios and her room.

Her maid had preceeded us.

Something in rapid French took
place between them and I recov-
ered from my first shock as I en-
sconced myself on the chintz-cov-
ered lounge. You wouldn't expect
her to know French. Of course,
there is no good reason why she
shouldn't, but then it isn't necessary
in jumping chasms and climbing
perilous precipices and most people
are not versed
varied and

unnecessary
things.

Pearl at-
tached a small
electric heater,
b\ toasted her feet
c \^ and invited me
fl^to do the same.

A She removed
co . n ,|er hat and
said revv it on an-
got a W chair,
is run jPrn the only
/I said, \n in New
/money i\ wearing a
1 hat," she
run-
on

| 061

With a keen appre-
ciation of the situ-
ation, she told me
that only her fath-
er and herself knew
when she was born,
because the town
had burned down
and all records had
been destroyed.
"Father has prob-
ably forgotten any-
way," she vouch-
safed, "so they'll
have me everything
from sweet sixteen
to forty so long as
I remain on the
screen"

Photograph by

Alfred Cheney Johnston

1ag£

ke Old Hokum
Bucket

By MALCOLM H. OETTIMGER

Illustrated by)

G. FRANCIS KAUFFMAN

THE redoubtable hero was being lashed
to a log which was routed straight for
the glittering teeth of the old saw in
the equally old mill. The cameraman
was lining up the set preparatory to spooling
the incident for posterity. The director was
giving instructions to the young lady who was
to do the rescue act in the nick carter of time.

"When I blow the little old whistle, Edie," he
told her, "you hurry from this side, and take the
center of action as you start to turn off the power,
see? Then we'll come in for a close-up of Bill.
Take your position, and we'll run thru it."

"You dont mean to tell me that you expect
this ten-twenty-thirty stuff to thrill your audience, do
you?"

The director grinned appreciatively. "It always has !"
he said. And the discussion was at an end. That set-
tled it.

The scene described above was being taken for a Vita-
graph serial ; the Bill was William Duncan, and the Edie
was Edith Johnson. Scenes just as timeworn and hack-
neyed and trite are being photographed every day in the
cinematic year by every company in the cinematic world.
Perhaps, the elements of the thing are a trifle refined in
the case of some of the higher class companies, but the
spirit of the work is the same all over. And the up-
roariously funny part of the entire affair is that you will
swallow your chewing-gum and grip your seat just as
hard each time vou witness such heroics as you did the

When two ardent swains lean
forward to kiss the fair flap-
per hovering between them,
she ducks, and they kiss each
other, whereupon you chuckle
merrily, even as you have
chuckled at this same hit
before

last time you saw the same
thing. That's the explanation
of hokum.

Hokum is, to be frank, sure-
fire stuff : situations that have
been used time after time with
gratifying results ; climaxes
that have been employed upon

occasions innumerable, always with the same thrill-win-
ning effects; "gags" that have found their way into the
realms of comedy, to be repeated regularly with unfailing-
ly hilarious returns. Hokum is the essence of success. It
is that ingredient which causes the harried critic to nod
with Homer, and lifts the matinee girl into the seventh
heaven of palpitant bliss and chocolate caramels; the in-
gredient that draws a laugh during the making of a melo-

drama, and
draws record-
breaking crowds
at the first show-
i n g in Baton
Rouge, La. Ho-
kum is to the
screen what
sawdust is to the
circus. Without
it, no picture
would seem quite
the same. And
it is the vary-
ing degrees of
skill and artistry
with which it is
employed that
finally indicates
the worth of the
picture.

Just as you

The redoubtable hero
was being lashed to a
log which was routed
straight for the glitter-
ing teeth of the old saw
in the equally old mill

P«6

C&m

ION pICTURF

Think of the thrill you get
when the flannel-shirted
hero covers the villain
with his gun, only to cast
it aside scornfully with
the remark, "I'm going to
break you with my naked
hands"

will find that the very best people
have measles, so will you discov-
er that the best pictures have ho-
kum. How will you know a bit
of hokum when you see it ? Ex-
amples of it are as numerous as
campaign speeches in October.

Perhaps in no other branch of
the flicker industry is hokum
more prevalent than in the canning of comic strips. The
giggle grabbers of the silent stage have a bulging bag
of tricks that they employ unceasingly in the traffic of
comedy manufacture. Mack Sennett, Columbus of the
Custard Pie, originated the pastry-propelling school of
slapstick. Slapstick itself, with tumbles and falls, its
farcical alarms and excursions, is almost entirely composed
of hokum. When two ardent swains lean forward to kiss
the. fair flapper hovering between them, she ducks, and
they kiss each other, whereupon you chuckle merrily, even
as you have chuckled merrily at this same bit before.
When the incomparable Charruls, after an argument with
a larger man, twists his body expectantly inward as he
passes his opponent, to avoid a possible kick, you roar
with glee. When Doug MacLean hurls a tomato at a
"buddy" in "Twenty-three and a Half Hours' Leave"
and the "buddy" ducks, allowing the juicy fruit to spread
itself over the passing General's features, you double up
in mirth. Because you like hokum.
The suitor who follows his prize to
her room, only to have the door slammed
in his face ; the two pantaloons of the
prize-ring, who persist in mauling the
referee whenever he dares to intervene ;
the matter of entangling one's hands in
flypaper, and enmeshing first the one
foot and then the
other, in repeated
attempts to rid
oneself of the
sticky stuff ; the
boastful clown,
confronted by his
alleged victim,
feigning alarm
and r u n n i n g
away ; the inevita-
ble comedy cops,
— these arc all
32

LAG£

properties of comedy that may be pbs
tively labeled as hokum. They a;
guaranteed guffaw-getters: they hav,
made generations gurgle with glee. \
Think of the thrill you get whe|
the flannel-shirted hero covers the vil
lain with his gun, only to cast it asid
scornfully with the remark: "I'm go
ing to break you with my nakec
hands !" And then think how oftei
you've been treated to that thrill. Con-
sider the overworked dawn, with the
slow iris-in of the glowing sun coming
up over the cactus-covered landscape.
Hark back to the legions of photoplays
that have written finish after a lumi-
nous sunset that served to silhouette
the lovers triumphant, locked in a fifty-
foot embrace. Before you suggest that
possibly hokum is a thing of the past,
— a thing belonging to the halcyon days
of split reels and One Minute Please,
to Change Pictures, — go to see J. War-
ren Kerrigan in "The Green Flame"
which has secret panels and mustachioed villains and a
final scene in which Warren declares to the world (and
the rest of the cast) "I am Gherrick Ghent of the U. S.
Secret Service !"

You are fairly wallowing in hokum when you are
wrapped up in the unwinding of a typically Western
filmelo. How often have you seen Bill Hart talking
solemnly to his horse, or rolling his eyes heavenward
and holding converse, in extremely lengthy subtitles, with
the Almighty? How often have you seen him tossing
off a bracer with one hand, while he rolls a cigaret with
the other, to light it a moment later from a match snapped
into action by a dexterous fingernail? How often have
you seen him hold the crowd at bay with a pair of six-
shooters, leap thru a second-story window and land grace-
fully on his waiting pony below? Would that we all
might receive a dollar for every time we had seen these
thing repeated ! Behold hokum.

It is a repetition of stunts, action, or situations that have
proved successful thruout the years, and will, therefore,
continue to be used whenever and wherever the oppor-
tunity presents itself. Nothing succeeds like success.
That is the excuse for hokum's existence. It is the rub-
berstamp that guarantees a thrill or a tear or a laugh.
Society dramas abound in it, detective plays reek with
it, and comedies are made up of it, for the most part.
{Continued on page 104)

At the conclusion of
reel-the-last, a blonde
bundle of precocity in-
variably affords the
reconciliation by join-
ing mamma's and
daddy's hands, which
likewise invariably in-
spires the scenario-
writer to produce that
old favorite, dusted up
for winter wear, "And
a Little Child Shall
Lead Them"

OC ~

^^K

Black Beauty

NORMAN

"«r ^OU'VE heard of

^LJ horse-sense, of
course? Perhaps
it was because
my grandfather, Sir Britan,
won the Derby, and Ed-
ward, Prkice of Wales,

nade a thousand pounds from his wagers in consequence,
)r, perhaps, I got it from my mother, who was only Squire

rey's phaeton horse — at any rate, I think I may say with-
out bridling, that there are few horses that have any more
lorse-sense than I have. I'm getting grey now, and my
tail isn't what it used to be, but in my day, fifteen years
igo, I would have brought a tidy sum. Heigh-ho ! Well,
t's the way of the world for colts to become horses, and
racers to drag carts ; even beautiful girls become women.

saw a grey hair in my mistress' dark locks when she
came to bring me my apple and lump of sugar this
morning.

There weren't any grey hairs, tho, that day, long ago,
when Mr. Jack Beckett came a-riding up the lane to
Birtwick Hall. Farmer Grey's land runs besides Squire
Gordon's, and it happened that I was standing close by
he fence, feeling my oats a little, because my mother had
just been telling me of my grandfather's triumphs and
warning me not to have much to do with the other colts
with plow blood in their veins. As soon as I laid my
eyes en the stranger man with his varnished boots, so
flossy you could see yourself in them, and his fancy,
black mustache which he must have curried very care-

ully, I didn't like the smell of him — tobacco, spirits,

ussia leather, scented soap and pomade. There was
oeether too much smell, and you can always tell when
°<n ...

it I must keep to the road. As soon as he had turned
a • the main highway, he jumped off his horse — a very
11 ry grey, and laughed aloud. ! looked down the

BRUCE

s ' and saw several
loney a.^^ uo a g. rea

other horses coming at a smart
cloud of dust. On the leader

rode a little, wizen man
that made me think, some-
how of a rat. His hair was
that color, and he squeaked
when he tumbled off his
roan beside his master.
"Egad, but 'twas a close
shave!" — You will probably understand man-talk, tho,
even after all these years of acquaintance with the race,
I must confess, I think it a very dull language. I may
as well explain right here that the rat-man was named
the Derby Ghost. I found out afterward from a racer,
that he had been a jockey, but had been put off the turf
for conduct unbecoming a sportsman — doctoring 'a rival
horse, I believe.

"What a cur you are!" sneered the gentleman, flicking
the dust from his beautiful boots with a fine linen hand-
kerchief, "why did you throw my saddle-bags to the
bailiffs ? There's more of value in them, than the amount
of their dirty bills! I've a notion to give you a horse-
whipping !"

"T'ell you 'ave !" squeaked the short man, with an ugly
look, "a fat lot you'd whip me ! Slippery Jack ! You
may look the gentleman, but I knows yer, and dont yer
forget it ! S'pose I peached to the fine folks you're comin'
to see what manner o' business 'ad been keeping you in
Lunnon?"

"I was only joking," said my gentleman, smiling with
beautiful white teeth beneath his beautiful black mustach.
"Come, come, Derby, we'll soon be rolling in money and
able to ride without fear of bailiffs and debtor's jails.
There'll be several fortunes staying at Birtwick Hall for
the hunt, and my aunt, Lady Wynwaring, is always good
for a hundred pounds, if worst comes to worst. All I
have to do is whisper in her diamond decorated ear the
fact that my mother, the barmaid, was her only sister, and
she remembers how she loves me! Eh, Derby?"

And both men laughed and turned up the lane to Birt-
wick Hall, while the two bailiffs stood on the public road

'togri . .
rlolt.e Fairchir

The Hall was full of young
people, having a good time in
a young way, which means a
great deal of kicking up of
heels and racing about and
noise

and shook their fists and spoke
strange words of rage.

Now let me t,ell you about
the Gordons who lived in Birt-
wick Hall. There was the
Squire, a bushy man with a
loud voice but soft eyes, and
Mrs. Gordon, who ; was always ailing. George, the son,
was twenty and a thorobred. Then there was thirteen-
year-old Jessie, still in the colt class,' with long legs, .but the
prettiest laugh T ever' heard, and a youngster or two be-
sides. . The. Birtwick Hall pasture ran close beside ours
and sometimes we colts used to gossip over the. fence,
so I 'knew that -Harry Bloomfield, the Vicar's son, was
already entered in 'the race for Jessie Gordon's hand.
Harry. wasHhe.kind Of boy
that: horses: like, which is
a pretty, fair test, let me
tell you. ..-We dont trust
everybody.' who pats our
noses and .feeds us sugar
plums by any means.

Now^as to what hap-
pened on that afternoon
when'Mr. Jack Beckett, of
Londdn 'and other less
savory places, came to
Birtwick Hall, I shall tell
you .what I heard from
Contrary Mary, one of the
Gordon greys', who heard
it from . the \ groom, who
got it from the butler him-
self. ." -' '

Mr. Jack was welcomed
pleasantly, for the sake of
his aunt and ' uncle who
34

BLACK BEAUTY
Fictionized by permission from the Vitagraph produc-
tion of the scenario by William Courtney ; edited by
Lillian and George Randolph Chester, and based on the
story' by Anna Sewell. Directed by David Smith. All
star cast. The cast:

Black Beauty Himself

.Jessie Gordon. ...:.. • Jean Paige

Harry Bloomfield James Morrison

Jack Beckett. ; George Webb

Derby Ghost. '. : Bobby Mack

Squire Gordon John Stcppling

Lady Wynwaring Adele Farrington

John Manly Charles Morrison

Mrs. Gordon Mollie McConncll-

George Gordon Colin Kenny

Flora Gordon . : Georgia French

Lord Wynwaring' Leslie T. Peacocks

Vicar Bloomfield r. Robert Boldor

Mrs. Bloomfield Margaret ' Mann

Farmer Grey.'. George Pierce

Fat Bailiff. ...... James Donnelly

were guests for the
hunt. Lord Wyn-
waring had almost
as much of a pedi- j
gree as I have my-
self, but his wife was
*a very common
woman, who put on
great airs of fine
ladyship to cover it
up. Still you cant
make a cart horse
into a racer, by tying
ribbons on its tail.

The Hall was full
of young people hav-
ing a good time in
a young way, which
means a great deal of
kicking up of heels,
and racing about and
noise. Now my fine
gentleman from
London was ten
years too old and
twenty years too
wise to care for hide-
and-go-seek, but he
looked at Jessie once
and he looked twice,
and he kept on look-
ing. Contrary Mary
said the groom said
the butler said that
Jessie noticed it,
young as she was, and seemed frightened. And when
Harry claimed a kiss as a forfeit and she ran away from
him, tossing her brown curls in coquetry, straight into
Beckett's arms, she turned quite pale.

"You're quite right to run away from the young jack-
anapes, Miss Jessie," says Mr. Jack Beckett, with his
dazzling smile, "but debts must be paid, and, as a friend
of the family,- I'll just take the kiss myself !"

"Harry !" Contrary Mary says the groom said the butler
said. Miss Jessie screamed, "Oh, Harry !"

Into the room ran Master Harry to find her strug-
gling to get away from the handsome gentleman with
the varnished boots. He was no more than four hands
high then, but he doubled up his fists and came at Beckett,
and there would have been trouble for certain if Mr. George

hadn't taken Beckett away
to the smoking-room.

"But, remember! I'll
have that payment yet,"
he whispers to Jessie as he
goes, and Miss Jessie
seems very sober, and
wont play any longer, no
matter how Harry begs.

"I wish," she told him,
with trembling lips, "I
wish that man had never ,
come here! Oh, Harry,/
I'm frightened!

. 7
Promise/

dreadful happen, Harry/
"I'll take care of yo/
said Master Harry, st
ing very straight,
rather cut off my /
hand than have an
make you cry, Jes. f

1AG£

OLi

/ , Man-talk is very strange, sometimes. Anyone with
;baccjiorse-sense would not say such a thing,
in hi As to what happened the next day, which I saw with
ing ny own eyes, you will have to piece it out for yourself.
to:u\ll I know is what Contrary Mary said the groom said
Diihe butler told him. And, unfortunately, butlers dont see
everything, tho they see more than people suppose. At
tany rate, it's fairly certain that the money I saw and the
tnoney that Squire Gordon gave Lord Wynwaring ' that
"evening for the subscription fund for the new chapel
— /Were the same. Eight hundred pounds, so they said, and
^iven to my Lord in the presence of everyone gathered
dickbout the great chimney of the hall before the candles
thavere brought.

Be 'An' I seen Mr. Beckett's eyes looking at the bills as
if he cud a' eat 'em an' his fingers twitchin' as if he was
sqalready counting 'em," so the butler, told the groom, "and
biftvhen the next morning, me ludship come down to break-
mfast, lookin' pale and worried, and told 'em the money
sewas gone from under his pillow in the night, I looked at
yiMr. Jack. But his face told
nothing. He had me pour him
htwo cups o' cawfee, whilest the
J rest ate nothing, tho there was
1 as pretty a rasher o' bacon as
I i you'd wish to see."
[ '. I was passing the time of
! Iday with the Gordon colts
when Varnished Boots came
across the pasture, humming
a song about ladies' eyes. He
was after his grey, and some-
where he had borrowed hunt-
ing clothes. If his horse had
had any birth or breeding,
she'd have flung him off her
back before she'd have taken a
rotter and a cad to the hunt
with gentlefolk, but she came
to him meek as milk. As he
was leading her away. Mr.
George Gordon came striding
across the pasture.

"I want to speak to you,
Beckett," he said, like the
crack of a whip. "I saw you
coming out of your uncle's
room at midnight last night."
Mr. Jack kept on smiling,
all except his eyes. "Surely,
Gordon," he said, softly, "you
must be mistaken." But even
a horse could see he was start-
led.

"I'm not mistaken," said

George, grimly, "and I shall

denounce you publicly as a

thief, unless you promise me to

-restore what you stole, at once.""

I thought there was going

to be trouble. It smelled that

way, but, as they two stood

glaring at each other, the sound

of the hunting horns came

floating across the field.

"We can finish our little

| conversation after the hunt,"

1 said George, "but you've only

got a reprieve. When the fox

) is run down, I shall do what

ft said, unless you restore the

money and get out."

CM^?iS UR F>

There are some things you know without seeing them. ?
or instance, I can always tell when it's going to storm,:

For instance, i can always
even tho the sun is shining. I know when I'm going
to win a race by the feel of the air. You dont have, to
be told when it's spring. I had a queerish sensation now,
when I watched the two men go away in the still, frosty
morning air. If something unpleasant didn't happen, my
name was Boob, instead of Black Beauty.

It seems that women have the same gift of foreseeing
things that they dont know. I heard later that : Mrs
Gordon and Jessie said good-bye to George that morn-
ing, with tears in their eyes,
altho he had ridden on a dozen
hunts before. They clung to
him, and kissed him. again and
again, and after he and the
others had ridden away, they
pretended to be very cheerful,
and laughed a good deal and
took Lady Wynwaring, who

It seems that women have the
same gift of foreseeing things
that horzes have. I heard
later that Mrs. Gordon and
Jessie said good-bye to George
that morning with tears in
their eyes, altho he had ridden
on a dozen hunts before

'iPn

otograph by ■

S was at least a hundred pounds too heavy, to ride out to
inspect the kennels;

Farmer Grey's pasture is a good many acres long. I
knew that at the far end was a place where the hunting
party would pass, because I had seen the beaters going
that way many times. A steep bank came down to a
brook with a stony bed — nasty place for a fall. I'm no
coward, but I should hate to have to leap it myself.

Sure enough, as I waited, I heard a rustling in the
bushes and out ran a frantic red creature with quiver-
ing tail. It ran silently with its sharp nose to the ground,
and I felt sorry for it. Any decent horse hates to run
down a fox. After a few moments the whole party was
plunging over the bank and across the brook with a great
laughter and splashing. The last over were George Gordon
and Mr. Jack Beckett, and in the spring George's mount
stumbled to her knees, and Beckett's grey plunged full
Upon her,

• Even before Mr. Jack had freed himself and dragged
his grey, kicking' and plunging — I knew there was bad
blood in that animal — from the others, I could see that
George was limp and still, and his horse done for, with i
a broken foreleg, and screaming horribly. Then I knew
what I had smelled in the air that morning. It had been
death.

Beckett ran to the fallen man, felt of his heart and got
up, very slowly. "What a stroke of fortune !" he whistled
thru his beautiful shiny teeth, "by Jove, how lucky for
me !"

Then he did a strange thing. He reached into his
pocket, took out a packet of money and put it into George's

waistcoat. Sometimes, when I
see men and how they behave,
I'm proud that I'm a horse.

Of course, there was a great
deal of excitement and griev-
ing over George's death, and
even the stables did their share.

Beckett stood at the door of
the private parlor where he
had the minister waiting,
while Harry pleaded with
Jessie, whose eyes told her
suffering while her gallant,
lying tongue denied her heart

The carriage horses wore black

CO., SOLE D

rosettes on their collars, and the colts reported that Mrs
Gordon was prostrated, and that Miss Jessie went arounc
with a face like paper. But they didn't know then whal
I found out three years later, after I'd been bought b>
the Squire and come to live in the Birtwick stables.

In that three years everyone had grown up. I was very
handsome. I know it, because I was told so, so often. Th
visitors to the Hall admired my glossy black coat and the
way I carried my head, and even the stable boys brushed
my long mane and said I was "a pippin." Miss Jessie,
now grown to be a tall young lady, used to come out to
my paddock to talk to me, and on the evening of her first
dance, she stole out in the dusk to show me her party
gown.

"Am I pretty, Black Beauty?" she asked, wistfully, mak-
ing me a courtesy. "Will I be a great success?"

"Pretty as a field of buttercups !" I whinnied, "but what
I dont understand is why a girl in a white silk dress with
rosebuds all over it and silver slippers should have sad|
eyes. Tell me, Miss Jessie ! Tell me and perhaps I can
help."

By Pegasus, but these humans are dull ! When we tell
them that we love them and want to be friends they say,
"Just look! He's actually trying to ask for a lump off
sugar !" When we try to make them understand our
hearts, they think we want an apple. When we reprove
them for their stupidity, they say we have had too many
oats, and when we offer to help them they say, as Miss
Jessie said, rubbing her cheek against my nose, "I almost
believe you are trying to speak to me !"

Trying to speak ! And then they speak of human intel-
ligence ! Well, I was standing in my stall, listening to the
far-away music of violins from the house and trying to
decide whether Miss Jessie was still mourning for her
brother, or what was the reason for the look of sadness
in her brown eyes, a look that had been there for three
years, when there was the sound of hoofs on the cobbles
outside and a man rode into the stables. The light was
dim, but I saw that he was the little rat-man, Derby Ghost,

still riding the
miserable
roan w h o
looked so
broken down
and winded
that I knew
she had had
to flee from
many credi-
tors and bail-
iffs since I
saw her last.

"I want to
speak with the
y oung mis-
sus !" said ths
Derby Ghost
to the groom
who came out
of the shad-
ows, rubbing
his eye s,
"fetch 'er 'ere,
will yer, or
shall I go to
find her?"

He was
dirtier than
ever, and rat-
tier. He smell-
ed of chea
rum, bad to

acco, and low pubs, but there was authority
in his eye, and after protests and much curs-
ing the groom disappeared. Presently, with

rustle of skirts and a breeze of the fragrance
Kvomen wear, which makes even a horse think
'of violet meadows, Miss Jessie stood in the
stable door, gazing with wide, frightened eyes
at the Derby Ghost.

"You come," she said, breathlessly, "from
| — him?"

I knew well enough whom she meant and so
did the winking, smirking Ghost, but, for all
that, he made her say the name, "Mr. Jack
Beckett."

"That's 'oo I comes from, m'lady," he
squeaked, "bein' as my marster has been for-
bid the plyce, as you knows. He 'ad to send
me. I was to say, miss, as how my marster
sent you 'is love on this night and reminded
you of a certain promise ..."

Miss Jessie gave a little gasp. Then I saw
her head go up haughtily. "You may tell
Jack Beckett," she said, and her voice was
like an iron horseshoe on flint, "that I was
a child when the promise was made and that
I am a woman now. Tell him that I cannot
believe that he would wish me to give him
the letter of my word when I cannot give
him — anything else. Tell him that I ask, very
earnestly, ask him to free me."

The Derby Ghost laughed. If I had been
free of my halter, I would have trampled him
under my hoofs without hesitation for the
look he gave my beautiful lady.

"I 'ave brought you 'is answer, miss," he
smirked, ducking over his greasy hat, "you
are to write out on a piece of pyper that you
are going to marry Jack Beckett on your
eighteenth birthday and give it to me, or to-
morrow morning my marster'll be free of his
promise !"

My lovely young lady stood trembling, with
a face like a rose for wrath of him, then
whiter than a daisy's petals. "He would kill
my mother with shame, and bow my father's
head to the dust, or he would marry a girl
who hates and despises him !" she raged, al-
ways in an undertone, "very well, I will sign
his dirty paper ! And I will pray every night
that I may die before my eighteenth birth-
day!"

The Derby Ghost rode away into the night
with his paper, and Miss Jessie went back to
the ball-room to laugh and dance, and look
into Harry Bloomfield's ardent young eyes, and I was
alone, I, Black Beauty, who could do nothing, tho well
I knew now that Miss Jessie's promise and the placing
of the stolen money in her dead brother's pockets had
close connection.

"Well," thought I, "two years is a long while. Per-
haps, Mr. Varnished Boots will drink himself to death
before then. And if I get the chance for one good clean
kick, I'll spoil his smile !"

Little I guessed the changes that two years would bring.
But I must not run away with my story. For one of the
two years, nothing happened. Miss Jessie was the belle
of the countryside, and the stable was alw ^ full of her
suitors' horses, each one boasting of his master's chances
~) win the Beauty of Birtwick Hall, as the young blades

lied her when they toasted her. But I noticed that the

-unts were always changing, asjtheir riders chanced their

° and were gently refused!

There was a wedding next
day at the Hall, but with a
different bridegroom. Ten
years ago, that was ; but my
mistress and her husband are
still lovers. I saw them at the
dance»last night, standing in
a French window, while she
pretended to pat her hair so
that they could steal a kiss

"What does she want?"
asked, indignantly, one of the
horses — Lord Something or
Other's. "Is she after a Duke ?
Will nothing less than royalty
suit her ? Why my master is
a Knight of the Order of the
Garter !"

"Perhaps," suggested the old
nag that young Harry Bloom-
field rode, "perhaps she prefers love to a title ! My master
is a Knight of the Order of the Clean Heart. You have
a fine gold-mounted harness, my friend, but I venture
I'll be here in this stable long after you leave its doors
the last time."

Then came the night of the Wynwaring ball, and since
one of the greys was sick, I was chosen to take his place
(Continued on page 113)

PA6

^tograph by
rloiVe Fairchild

1L \

Wkat's Wkat
In Scenarios i

For this reason, the Motion;
Picture Magazine has entered
into an arrangement with John
Emerson and Anita Loos, fore-
most of professional photoplay
authors, for the publication of
a series of articles on scenario
writing. These articles will
cover the photoplay writing
field from every angle, from
plot construction to continuity
writing, and from copyright
laws to the burning question of
how to market the completed
script.

Readers of the Motion Pic-
ture Magazine who desire
personal advice will be an-
swered by mail by Mr. Emer-
son and Miss Loos, provided
they will write their questions
on the coupon which appear?
below or a
similar one
of their own
making and
mail it with
a sclf-ad-
dressed and
stamped re-
turn envel-
ope to Emer-
s o n- L o o s
Productions,
care of Mo-
t i o n Pic-
ture Maga-

John Emerson
gained his experi-
ence in play-con-
struction on the
spoken stage.where
for twenty years
he was an actor,
playwright and
producer for Froh-
man. Left, a new
portrait of Mr.
Emerson, and be-
low, Miss Loos
and he at work on
the film of one of
their stories

Photograph (above) by
Underwood & Underwood

INTRODUCTION

THE acute shortage in
screen stories, which
has developed during
the last twelve months,
has set thousands of untrained
writers to work in every part of
the country. Despite the ac-
knowledged fact that nearly all
the standard plays and novels
have been already filmed and
that the future of the photo-
play necessarily depends upon
the development of new screen
authors, the scripts of the ama-
teurs arc rejected and the de-
mand remains unfilled. Yet pro-
ducers believe that these ama-
teurs, if versed in the funda-
mentals of play-building, could
produce the material for which
(f\therc is such crying need.

CO.,'SOLE D I S

the West,'
in her head

One Human Note

WHEN Lucile Mac
Vey, a feminine
Lochinvar.
"came out of
she had one idea
and one idea for
her work, (which happened
then, to be elocution). The
human idea.

She stopped elocuting
and joined the film ranks
at Vitagraph and became
Mrs. Sidney Drew,
everywhere known as
Polly Drew, and the
time ripened for her to
put her beliefs (they
were never theories —
nothing so nebulous, so
wan, so unformulated
for her) into execution.
"I knew the great
high-class, low-class,
middle-class people," she
summed it up; "I knew
'em because I was of 'em.
Knowing them and what
makes them laugh and
what makes them cry, I in-
duced Sidney Drew to go in
for domestic comedy. I ex-
plained the man who fixes
the furnace and the man who
fixes the gas-jet and the man
who chops the wood, and he
couldn't see it at all. 'It's all
right, but it isn't comedy' he told
me ; 'Ah, but it's humanity' I came
back at him. And so, believing in
me, he gave me my way and it be-
came our ■ way — with a universally
recognized result."

Now, with Sidney Drew,

gone, Polly Drew has the

Tvsame id* 3- }— the human no [e.

Since his death she has keptj

tryst, first by her comedies,

alone and with a heavy ca\|

of bitter-sweet associations

make the going hard, by hei

continuity and titling of "A!

Gay Old Dog" and by heri

direction and continuity of

"Cousin Kate" y \one witlj

Alice Joyce f

graph Com;

pects to gc 4onh

tryst. or an

I aske :rie nce.
the otheV. he

llities

apartmen, test
40's. Sh of
marcelled 1O1 .
dinner given in t
social circles, i
tion the marcel b
it is not a casual «
rence for Polly
She once told m<
she had been "happ
unmanicured" — and
explains it. She is a-i
son of incessant plajr'
activity and, perf6 V ^J
details, grindstones ; i n-
soul, must go. . . >t>ii-

Photograph by
Charlotte Fairchild

M rs. Sidney
Drew is going to
adapt for the
screen, direct, and
play the leading
woman role in four
well-known Broadway
successes. To quote her,
"They are to be the stuff
. . . strong stuff of every-
day — poetry and prose — idea
and ideal — life, love and all of
of it — human '." Top, Mrs. Drew
directing Alice Joyce in "Cousin
Kate," and left, a new camera study

do, wit 1S

"We-

I saidKed

"in th by

ct feaits
u move

« n center,

tOlTTCVding

of a e

OUS

appi

ly;l'

the! /
(C\
on .

/41

__fl

n 1

Br?

)HN EMERSON and ANITA LOOS

E, No. 175 Duffield Street, Brooklyn, N. Y.

y one question may be asked at a time and

ust relate to photoplay writing, as, for ex-

e: "Is my story salable?" "Is my plot

itically sound?" "Has my idea been used

:?" "Is my plot properly constructed?"

/Vhere can I get a list of the addresses of

:io editors?" If the question does not re-

3 any particular story, it should be written

our coupon and mailed in. If it is desired

Mr. Emerson and Miss Loos answer a

/tion regarding a particular plot, the idea

did be sent with the coupon in a typewritten

lopsis not over three hundred words in length

tories which go beyond this in length cannot

read. There is no charge for this service.

coupon and the story will be returned in

stamped envelope, but because of the occa-

il slip-ups in the mails, authors must send

.tories at Their own risk and are requested

eep a copy.

he Motion Picture Magazine believes
it in opening this department, it has retained
i or its readers the highest authorities on the
photoplay. Anita Loos, tho still in her twenties,
is the real dean of the new school of scenario
writing, since she has been a professional scenar-
ist longer tha n any other writer in the field. She
at the age of fourteen when she
>ry, "The New York Hat," to D.
a few months later, when that
recognized this precocious young-
took her place as staff scenarist
fudios. Since then she has pro-
stream of successful photoplays.
'm gained his experience in play-
Un4£w m tne spoken stage, where for
years he was an actor, playwright, and

a producer for
Frohman. Seven
years ago he fore-
saw the amazing
development of
the motion picture
and left Broad-
way to stud y
scenario writing
on the "Griffith
lot" in Holly-
wood. Soon after-
wards he became
director for
Douglas Fairbanks, and it was at this
time that he met Miss Loos, already
widely known for her satirical stories.
Together they produced the photo-
plays which made Douglas Fairbanks
famous — "His Picture in the Papers,"
The Americano," "Reaching for the
(Coiiti^ \l on *agc 11 <>

Anita Loos, tho still
in her twenties, is the
real dean of the new
school of scenario
writing, since she has
been a professional
scenarist longer than
any other writer in
. the field. Above, a
camera study of Miss
Loos, and left, Mr.
Emerson directing a
scene with Constance
Talmadge and Conway
Tearle

JTK

GEO. BORGFELDT & CO., SOLE DISTRIBUTORS • NE^

htest R

esume

to the wonders that will

in the Fame and Fortune

)21, it is interesting to take

backward glance at the contest which

ed.

veries of the 1920 Fame and Fortune
e many, because among the gold medal-
medalists, honorable mentions, and final
^ there are a number of young women —
Br three young men — who seem to have
■reen possibilitie .

■ discovery stands out above all others, and
■lered the real and distinct find of the con-
R-ecent developments have proved beyond
Wthat in Corliss Palmer of Macon, Ga., we
jpund a girl with super-qualifications. She
PA'orth unheralded, without an atom of drama-
Praining, without an iota of theatrical or motion
picture experience, and without the least thought in
her mind of accomplishing anything definite, other
than having a pleasant trip to the great metropolis.

She felt that among the tens of thou-
sands of beauties from over the coun-
try who came, bringing with them all
kinds of artistic photographs and ex-
quisite gowns, testimonials and letters
of recommendation, that she would
have no chance whatever — but she did
want the trip.

The judges — Mary Pickford, Mme.
Olga Petrova, Howard Chandler
[Christy, Thomas Ince, J. Stuart Black-
ton, Maurice Tourneur, Samuel Lu-
Iniere, Carl Laemmle, Jesse Lasky,
David Belasco, Blanche Bates and
lugene V. Brewster — were not con-
) {Continued on page 103)
/

Corliss Palmer, of Macon, Ga., came North
without an atom of dramatic training, or an
iota of theatrical or motion picture experience.
Tc her great surpri;e, it was found that she
possessed greater beauty and screen possibilities
than the thousands who had entered the contest
and she was accordingly made the winner of
the 1920 Fame and Fortune Contest

, / t

Miss Palmer, in
her first picture,
"Ramon, the Sail-
maker," proves
herself an emotion-
al actress of abil-
ity. Left, she is
seen as the pleas-
ure-loving society
girl; top, abducted
and deserted by
Ramon, she waits
for the next move
of Fate ; center,
the happy ending
of the picture

PA6 i

Mack Sennett Comedies

TAMAR LAME

The Answer

IT wasn't written by one of the world's greatest authors.
It hadn't been a great New York stage success.
And the producer was far from being noted for
high class films.

There was no one of any note in the cast.
The director was not yet recognized by the New York
press.

And strange to say, it didn't cost $500,000 to produce.
Yet "Over the Hill" with a simple, beautiful thought
behind it goes down as one of the screen's greatest pro-
ductions.

Another Movie Scandal
Electric sign outside of a Broadway theater : "Behold
My Wife. This week.- With Elliott Dexter."

E. V. Durling, editor of the Brain Exchange, says that
movie plots are like women. Dress, paint and pad them
up and even the old ones will get by.

And the better dressed they are, the more they cost.

Is it possible for a girl to be beautiful, a good actress
and work for the Fox Company at the same time. Take
a peep at Estelle Taylor and settle it for yourself.

If Recent Developments Continue
Hollywood, January 15th, 1922. The tremendous purses
being offered by fight promoters are demoralizing the film
industry here. Already, George Walsh, Douglas Fair-
banks and William Duncan have deserted the screen and
signed to fight for purses of a million or so as a starter.
It takes over two months to make a film, but a boxing
match only lasts a few minutes and you dont need a
make-up. Charlie Chaplin is holding out for a half-in-
terest in the Southern Pacific Railway to cover training
expenses.

They Do It in the Movies
, In "The Cradle of Courage" a couple of characters go
(l\vtv to a telephone pay station, and not only do they get

the number they ask for, but they get the operator with-
out dropping a coin in the box. It cost me a quarter the
other day to discover the 'phone wasn't working.

Have you noticed the similarity in the technique of
William Faversham and William S. Hart?

Saw a film the other day wherein the hero and heroine
did not fall in love. They were married before the story
started.

Did you know that there were blue-eyed colored folks?
Neither did I. Griffith knows all about it tho. He has
a couple of them in "The Idol Dancer."

What's the matter with Nazimova? A year ago she
was one of the five foremost stars on the screen. Now
look at her.

Old Wives for New

"Virtuous Wives."

"Idle Wives."

"Blind Wives."

"Foolish Wives."

Has anybody anything good to tell a single young man

about wives?

Movie Mystery

The meaning of Lionel Barrymore's villainous-looking
mustache.

A pessimist is an individual who can view Mary Pick-
ford on the screen and then come out of the theater not
feeling that it's a good old world after all.

Discovered at last ! A star who actually admits with-
out blushing that she was not discovered and brought to
the screen by Griffith — Zena Keefe. We gravely suspect
this of being a piece of publicity.

Not only is Harold Lloyd giving Chaplin a lot of worr
but^ow along comes Johnny Hines, a mile a minut
Wntcli him.

I /

-A.

Photograph by
Charlotte Fairchilds

Roles and
Results

Sylvia Brearner reminds
you of a passion-flower,
with her dark and slum-
berous eyes, equally dark
and slumberous hair, a
vivid and also scarlet
mouth and a low-pitched,
accented voice

T may have an Elinor-Glyn-
nic flavor to say that Sylvia
Brearner reminds us of a
passion flower, but if a per-
son will have dark and slumber-
ous eyes, equally dark and slum-
berous hair, a vivid and also scar-
let mouth and a low-pitched, ac-
cented voice, that person will have to stand for Elinor-
Glynnic similies.

However, as an antidote to the impression the above
may leave, Sylvia believes, in spiritism. Elinor G. may,
too, but she certainly leans to the earth-earthy in her
delineations as set forth in her Best Sellers. I asked
Sylvia whether or not, her recently completed picture
"Athalie" (the title of which is to be changed, by the
way, as titles have a habit of being) had anything to do
(JNwith her faith in the rap-tap of the world beyond. She

said, "No, I've always
believed in spiritism,
I think, altho I never
talked it, nor, really,
lived it. I'm not in the
least occult myself.
Nor am I mediumistic.
But I believe, because
I've seen remarkable
demonstrations and
also because the part
of my mind that is
most logical O. K.'s
the belief."

She went on to tell
me of an experience
her young brother
went thru when in a
trance. "I thought he
was going to die," she
said, "and I was ter-
rified. One feels dif-
ferently about one's
own. It makes it all
seem so strange and
vital. I was with my
brother and he direct-
ed all of his talk to me.
He kept saying, 'Syl-
via, this is George —
this is George' and I
couldn't, at first, re-
call who 'George'
might be. Then I re-
membered that
'George' was an old
and very dear friend
of my father's, who
had killed himself
about a fortnight aft-
er my father's death.
I said, 'Yes — yes, I
know' and then my
brother, speaking as
tho he were this
George, went on to say
all manner of strange
things — that he was unhappy because he had done what
he had done — that he wanted to get back — that he longed
to explain — all in that vein. It was most uncanny. When
my brother came out of the trance, I asked him whether
he had not been acting just the least bit in the world for
my benefit. 'Dont be silly, Sylvia,' he said, 'I dont re-
member a thing' — and no amount of prompting or sug-
gestion could recall to him what had occurred. I should
like to have the time to go into the subject exhaustively,"
she concluded.

It is being guilty of repetition plus to note that Miss
Brearner is native Australian — with a father who was a
commander in the British navy and a mother who, in
relation to Sylvia, stands forth pre-eminently as objecting
to Sylvia's stage career. So strenuously did she object,
indeed, that Sylvia, in her fifteenth year, was consigned
to a woolly Australian waste, there to gambol with the
baby kangaroos and other Australian ruralities. But the

A5£

Afi£

By JANET REID

footlights penetrated the fastnesses with their
ever-calling, ever-beckoning charm — and once,
in the dark of night (or it should have been
for the sake of story values) Miss Breamer
appeared in the home fold and announced
that she was going on the stage — further
controversy would be superfluous. Shortly
thereafter her father died — and Miss
Breamer had, forsooth, to gratify herself
both professionally as well as personally.

She came to this country in support of
Grace George in Shaw's "Major Barbara"
— and after that I refuse to repeat further.
This last has been for the twofold purpose
of lest we forget and also to emphasize the
determination which characterizes Sylvia,
despite her aforementioned floral appearance

"I believe in remaining
with the same director for
a period of six months or
a year," said Miss Bream-
pr. "A director cannot
know an actress in one
picture ... A musician
must know his instrument
to get the best results;
a director, too, must be
sure o r . his instrument"

Photograph by Witzel, L. A.

and her spiritualistic tenden-
cies. She is determined and
also decisive.

She is now under contract
to Sidney Franklin, with, I be-
lieve, two more pictures to go.

"He is a wonderful director
to work with," Miss Breamer
told me, over tea and muffins ;

'sympathetic, bringing out by
suggestion rather than coer-
cion the very best latent in a person. I feel that I
have really grown under his supervision and it has
been a joy as well as an experience."

"Do you believe in remaining with one director?"
I asked.

"For a period of six months or a year," Miss Breamer
said, "a director cannot know an actress in one picture.
Therefore, he cannot make the very best of her, nor
obtain the very best results. Up until quite recently
I inclined to the belief that to stay with one director
indefinitely was the best thing — and save for the danger
of getting into a rut, I still think so. But a rut is a
vital danger.

"It always seems to me somewhat as tho a director
were a musician evolving from what should be highly
sensitized instruments their finest harmonies. A musi-
(Continued on page 97)

»A<Sli

_ .

The trials and tribulations
of the producer now be-
siege Charles Ray . . .
When you have your own
company, it makes a dif-
ference about stories, sup-
porting players and the
other details. However,
the results are what count,
and his next production,
"Nineteen and Phyliss,"
is said to justify his en-
deavors. "Whiskers," pic-
tured at the left, is one of
the most important mem-
bers of the Ray forces

ILL HAWES had
spent his life in an
atmosphere of mis-
understanding and
dislike. His father had
hated him because he had
been a silent child, much
given to book learning and
solitary rambles and musing
at meals. Also because he

had never been able to laugh at the coarse humor his
paternal parent now and then delighted in.

His mother had disliked him because she had never
wanted him, and she made it an invariable habit to dis-
like that which she didn't want. Of course, after one
has had eight children and buried four of 'em, a ninth is
not a spirit of potential joy. It meant stretching the
tendons of thin finance to a most painful point.

Early in life, Bill Hawes determined to "do something"
in the world, of an uplifting character. For a while he
was vague as to the exactitude of his mission. But he
felt it to be exalted even in its nebulous and embryonic
state. Then, after some particular display of resentment
and misunderstanding at home* it came to him that he would
be to the young of the next generation what no older
person had ever been, had ever wanted to be, to him. He
would be a light and a leader. He would blaze tangled
trails for them and clear up morasses of thought and all
the troublous, befogged emotions which are the pain and
the prerogative of the rawly young.

He evolved into a schoolmaster. A country schoolmas-
ter. A fighting schoolmaster.

The slim-jim little pedant of the small Alabama com-
munity grew into a raw-boned, belligerent-muscled, belliger-
ent-minded young man who, after graduating with some-
what darkly brilliant laurels from the Teacher's College
in his own vicinity, took to himself a school in North
Carolina and began his High Exalted Mission.

Now and then the H. E. M. flagged and fogged, as
H. E. M.'s have a disconcerting
habit of doing. Now and
then the Younger
Generation

Trie Jucklins

GLADYS HALL

resolved itself (or them-
selves) into very thick-
skulled grubby little boys
with not a shred of yearn-
ing for a higher life nor a
scrap of desire for idealistic
enlightenment. Now and
then, when some particular
small fist rose repeatedly
and a whinish reiterative
voice drawled, "Whaddyou mean, teachchewer ?" he felt
the desire his father had felt (and yielded to) to plain
everyday lambaste the youngster — but something restrained
him. Always something restrained him. He came to the
conclusion that the "something" was the thin pitiful spirit
of his own boyhood pangs rising to confront him, to lay
a staying hand on the freshets of his ireful impatience.
He always managed to achieve a smile, a rally and, in
time, he won the adoration of the school, the boys and
the parents thereof.

Bill Hawes did some adoring on his own account.
When he first obtained his school, he inquired for a
place to live. That had been a part of his dream — the
place where he would live. He had never had any family
life and he was starved in his domestic desires as he had
been in his mental ideals.

"Go to th' Jucklins," he was told, "schoolmasters always

stay up to Jucklins. They're great 'uns, are the Jucklins."

Bill found the Jucklins great 'uns, and apparently the

town schoolmaster was a part of their family life, almost,

indeed, a tradition.

"We consider it our tome to education," Guinea 'Jucklin
told him, the first night he came, "we'd have the school-
master here if one of us had to sleep in the hay-loft. Be
sides, we'd stick it now under any conditions. You see,
my brother and I expect to marry off very soon, and, of
course, that will leave all the room in the world. We
expect to marry well, so there'll be no occasion for any
one of us to stick to the parent nest."

Told by moonlight, it didn't
very much matter what
Guinea Jucklin
said, still,

(praffissP! 1 *.

Now and then, when some
small fist rose repeatedly and
a whinish voice drawled out,
"Whaddyou mean, teach-
chewer?" he felt the desire
his father had felt — and
yielded to— but something
always restrained him

even so, and on that first night
Bill Hawes was conscious of
some dulled regret because she
spoke of marriage.

She was so darned young, so
sweet — golly, yes, so sweet!
She hadn't a business to be
talking that way — of "marry-
ing off — of marrying well ..."

She was so straight and strong, too. There was some-
thing warm emanating from her, electrical and heady.
She — she was like wine and witchery. Bill sighed pro-
digiously. So, just so, had he imagined a woman would
one day talk to him. Not what she said — there was al-
ways a rift in every lute — but the way she said it— con-
fidential and loW-like. Soft — golly . . . !

"Who's— who's Alf go-
in' ter marry?"

He didn't care a whoop
whom Alf Jucklin married,
but he did care whom Alf
Jucklin's sister married.
Still one had to be deli-
cate — one had to lead up.
Guinea was obliging.
"Why, you see," she
said, "the Lundsfords are
our next-door neighbors.
They've always been — for
generations an' genera-
tions" (Guinea had an
amazing habit of dispens-
ing with eternities with a
flip of her fingers and a
shrug of her facile shoul-
ders) "we've intermarried
quite often. They're ter-
ribly rich, altho that, of
course, wouldn't influence
a Jucklin ..."
48

Afi£

THE JUCKLINS
Fictionized by permission from the Paramount pro-
duction of the scenario by Frank Condon ; based on the
book by Opie Reed; directed by George Melford.
The cast:

Guinea Jucklin Mabel Juliene Scott

Bill Hawes Monte Blue

Millie Lundsford Ruth Renick

Lim Jucklin Charles Ogle

Susan Jucklin Fannie Midgely

Alf Jucklin Zell Covington

General Lundsford Winter Hall

Chyd Lundsford J. M. Dumont

Dr. Etheredge Clarence Burton

Sheriff Parker Guy Oliver

Attorney Conkwright Robert Brewer

Scott Aimes .« Jack Herbert

Bill Aimes Jack Hull

Jim Aimes William Scott

Johnny Aimes Frank Weatherwax

Dan Stuart William Boyd

Station Agent Jack Byron

School Teacher Charles Wildish

Old Negro Josh Uncle George Curry

Guinea paused and, in that pause, Bill Hawes was
left to deduce and did so deduce that a Jucklin stood
for all the desirable attributes, trails, etc., of the human
race, and that to attain a Jucklin was to reach about the
zenith of matrimonial achievement. The Lundsfords were
rich, conceded, but the Jucklins . . .

"Alf's in love with Milly Lundsford," the loquacious
Guinea resumed, satisfied by Bill's impressed expression
that the relative status of affairs was thoroly understood :
"but he's the least bit, just the least bit fearful of Milly.
Milly's rather a flirt. She went North, to school and it
got her into light habits. She'll get over it. I tell Alf
not to worry, to give her free rein, but Alf's the worry-
ing kind and he gets awfully down. Do you know" —
Guinea hunched nearer to Bill Hawes (never, no never,
she felt, had she had so flattering an audience, spellbound

the schoolmaster was,
really) "do you know —
I'm sometimes afraid
there's a tragedy ahead
for Alf. He's so sort of
grim, and so queer about
Milly. Now me — I'm sup-
posed to be in love with
Chyd Lundsford — he's a
medical student and expert
on tonsils, he says, but I
dont feel the same way
Alf does about Milly. If
Chyd said the things to
me Milly says to Alf, I'd
tell him to go ahead and
have his little fling — he has
to marry me in the end —
it's written in the stars,
Daddy tells me, so I sup-
pose what's written is
written, and I dont bother
with what happens in be-
tween. That's how / feel."

Bill ventured solemnly, "Perhaps you've never really
been in love, Miss Guinea."

"Call me 'Guinea' and dont talk like an awful spoof,"
the girl said, restlessly, "it's written."

It was reported of Bill Hawes about town
the following week that he had kept three
boys in after school for having expressed
an unusual aptitude for astronomy.
"All I said to him," one of the scholars
reported, "was 'it's written,' an' he
went off into an awful gumflump-
tion."

It became increasingly
known of Bill Hawes that he
was a "fighting schoolmas-
ter." He fought the school
board for reforms they
had never heard of
and he had only dream-
ed of. He fought the
Aimes boys, who
were the bad influ-
ence in the neigh-
borhood, and when
the Aimes boys at-
tacked Alf Jucklin
one day, Bill came
to the rescue, and
the battle that en-
sued became part
of the history of
the town, almost
of the State. That
night the wooden
school building
was found burned
to the ground and,
with Bill Hawes
leading the bellig-
erent investigation,
there was no con-
siderable difficulty
in discovering that
the Aimes boys had
done the dastardly
deed.

They were sent to
the State peniten-
tiary. The day they
left, Bill Hawes asked
leave to see them. He
was with them for a
very long while. When
he came out, his face was
white but his mouth was
out of shape with an odd
smile. It was rumored about
that the Aimes boys had gone ^|

away with traces of tears on •$

their faces, and that the older '*1

and rougher one of them had kist y%

his mother goodbye. Bill Hawes
had nothing to report. It would
have been absurd to tell the folk of
Caroltown that he had told the Aimes
boys a fairy story of a little lost dream.

Besides, he was immensely busy. He had
a new fight on. He had to fight the Local Board
of Directors for speedy execution of -the new and
vastly modern school building. They showed every symp-
tom of being content with the Town Hall, where the

modus operandi of education was temporarily put into v
execution. It wasn't easy for the sages of Caroltown to
"do" all the improvements demanded by their progressive
young schoolmaster. But, in the end, he got them,
every one of 'em.

He laid a deal of the credit to Guinea
Jucklin. She backed him every time, in
every project, in every argument. How
her eyes shone when he sketched his
plan for this or that — his dream for
this arrangement or that lay-out !
How her tones vibrated when
one time he overheard her, tell-
ing of his beliefs to Chyd
Lundsford, home from med-
ical college on a brief va-
cation. That was the one
time during the term he
had seen little of Guinea.
It wasn't her fault. She
wanted him to come
with them everytime
they walked, even so
far as the corner
drug-store, but to ac-
company Guinea
and the man she in-
tended to marry
was more than Bill
could stand for.
He was unable to
H perceive in the

stars any hiero-
glyphics even re-
motely resembling
Guinea Jucklin
and Chyd Lunds-
ford.

He had a sneak-
ing suspicion, too,
that Mrs. Jucklin
was with him.
Once she said that
the Lundsf ords and
Jucklins had done
enough of inter-
marryin'and that Alf
and M i 1 1 y were
enough for the pres-
ent generation. She
said, further, that she
couldn't see Guinea in-
terested in a man for-
ever cuttin' inter folks.
It was all very fine and
good, but book learnin'
was more to her way of
thinkin'. Still, father wanted
it and Guinea seemed to offer
no set objections, and there you
were ! Bill yielded to temptation
and told her all the ills, the bad
blood, the lessening of powers, apt
to attend much intermar-
riage, but mother Jucklin
had long been under the
absolute dominion of fa-
ther Jucklin and there
was little power in per-
suasive argument.
Still, once the school
49

PA6

His mother

was crouched on

the floor against Guinea's

knees. "He was ray baby,"

she moaned, "dont you remember

. . . I held him like this . . . and he

laughed up at me . . . my baby"

■1

i matters were fought out and the wheels of learning turning
smoothly again, Bill had time to sense that the air of the
Jucklin and Lundsford homes was not all it ought to be.

Alf was morose to an extent unwarranted in so young
a lad. Milly Lundsford was hilariously light-hearted and
gay. In and about the village it drifted to Bill's hearing
that Dan Stuart was paying considerable attention to Milly
Lundsford and that despite her rumored engagement to
the Jucklin boy, she didn't seem to be averse to it.

Bill knew that Dan Stuart was a seasoned young man.
He had been to the larger cities and was of them. He
bore taints upon his person and in his presence. His
mind had been befouled and he had lost the freshness
Milly had a right to. Bill was sorry for the contact, be
it ever so slight. He made this remark once to Alf and
was startled to see the bad blood rise and spread over
All's face and throat, troubled to see the pulses hammer
in the boy's throat and temples. "It isn't as bad as all
that, Alf," the schoolmaster said, with reassurance, "girls
will be girls and Dan's a courtier apt to turn the head of
an older woman than your Milly ..."

Alf swore, which was not habitual with a Jucklin.

"My girl wont 'be girls,' " he quoted back, "and she is
'my Milly' and that's the whole of it."

It became common property in and about Caroltown that
there was trouble between Alf Jucklin and Dan Stuart.

And so it was no surprise when, one day in the late
fall, Alf Jucklin dragged Dan's" body to Dr. Etheredge's
office and told him he had killed the dirty beast. "He
made a nasty remark about Mill," was his only explana-
tion ; "he deserved to die."

He walked straight from the doctor's to the sheriff's
office and gave himself up to the Law.

He was tried and convicted. Conk-
write, the lawyer for the defense,
bui worked the juck- asked for a new trial. At the new

lin {arm and studied
law. And dreamed.
And then he made his
discovery of mica on
the farm

trial, Bill Hawes did everything he could with his testi-
mony to save the white-faced imperturbable lad in the
prisoner's box. He had so obviously been taunted, cheated,
driven by the leash of his strong fanatic passion into the
shot he had fired. Dan Stuart had been so notoriously,
so odoriferously objectionable. There were so many
wounded mothers, so many hurt girls to testify to that.
Nevertheless, there was every evidence ... a deliberate
shot . . . threats preceding . . . Alf Jucklin was sen-
tenced to life imprisonment.

At home his mother was crouched on the floor against
Guinea's knees. "He was my baby," she kept moaning,
"dont you remember, Guinea, dont you remember — I held
him — like this — and he laughed up at me — never a mean
thing — never a low thought — my baby, you know . . . '

"I know, dear, I know, dear," Guinea kept crooning to
the old grief at her knees ; and did not think it necessary
to remind her mother that she was younger than Alf,
and could not possibly recall him as a tiny babe.

The Jucklins moved away from Caroltown.

"Of course," General Lundsford told the elder Jucklin,
after the trial was over and Alf safely ensconced in his
lifer's cell ; "of course, marriage between Guinea and Chyd
would be — well, frankly, old friend, impossible — now. You
see that — we'll call it impracticable ..."

"Of course — old friend," was the elder Jucklin's reply,
and could take no pleasure in the wincing of his "old
friend's face.

The Jucklins moved away. Moved quietly away. They
sold their place to Bill. He bought it on slow terms, and
more because they wanted him to have it than because
he really could afford it.

The night before the Jucklins went, he and Guinea sat
among the Jucklin chattels on the porch. She didn't speak
much, so he talked. He talked about himself, because
he thought he would be a negative sort of subject and

a sort of sedative, for the
grim pain, he knew, was
tormenting her.

lAfi

To torment her . . . unutterable crime!

He told her he was going to give up school teach
ing and go in for the study of law with Lawyer
Conkwright. After all, to be able to apply
the law, to apply the law rightly, he stressed
the point and she was grateful, was the
great thing. What could be greater?

And Guinea agreed with him. She
put her hand into his, too, and he
knew that she needed comforting,
who had given so much to her
aged father and mother. He did
not venture to suppose that her
heart, even in its hurt, sang a
little minor-keyed song at his
strongly sensitive touch.

And then they went away.

Bill worked the Jucklin farm
and studied law. And dreamed.
He dreamed in the fields by day,
sitting behind the horses, plough-
ing.

He dreamed that he saw Guinea
coming out of the kitchen-door,
walking down the kitchen garden,
gathering the greens for supper. He
dreamed he saw Guinea peering at him,
great-eyed and dusty, from the hay-loft
where she had been wont to read the sum-
mer afternoons away. He dreamed, some-
times, that he saw Guinea walking straight
toward him, into his arms, his heart, his life . . .

And then he made his discovery. He discoverea
mica on the Jucklin farm.

He sold the mine for a stupendous figure. Half of
the price paid, he gave to Lim Jucklin, besides what he
owed him on the original purchase price of the place. The
other half he invested, took a room in the village and went
in thoroly for his study of Law. He still dreamed.

He had nearly completed his studies when he met Dr.
Etheredge one day and fell into talk with him. The
doctor took him home to supper, and in the course of
the evening confessed to him that he had lied in court
. . . "Dan Stuart did not die of a gun-shot," he said,
"he died before ever he was struck — of heart trouble.
I lied."

"Why?" "

Bill's monosyllable was poignant, not so much with
grief for Alf as with grief for Guinea, hurt there, in the
dark. How he recalled her, every tense young line . . .
wounded . . . her pride, he remembered, had been like
the pinions of some splendid bird of flight trailing in the
dust . . .

"Why?"

"Money."

"You dog!"

"I know — dont, Hawes. God, I've suffered. I — I was
in horrible stress — at the time. There was something else.
I — I wanted Milly Lundsford. Always have. Stuart was
out of the way. Alf — Alf Jucklin remained. You
see . . . "

"No. What do you intend to do ?"

"Will you help me?"

"I'll help them, if that's what you mean,
how you've shattered them — young lives-
— you low ... !"

The doctor shuddered. How futile he looked
quate ...

Bill refrained from further talk. He might
the creature that he would end himself and so his con-
fession — the confession that would mean a new trial for

cm^?CT

God in heaven,
•an old mother

-inade-

so cow

And then her voice/'
broke, so deeply soft it
was, and Bill dropped
on his knees and
Alf Jucklin — liberation . . . That touched her, and he

would mean for mother Jucklin her didn>t know - nor ca 5«-

i . r /-. • * , ' what the stars said

baby again — for Guinea a new lease

of the high altitudes — the sunlight —

the blowing of the fine winds — her

heritages — might even mean Chyd Lundsford — what of

it? What of anything, so long as she be happy, at peace,

content . . . ?

The new trial was held. Alf Jucklin was freed on the
testimony of Dr. Etheredge.

The day he obtained his release, Milly Lundsford was
awaiting him in the outer room. But the best of it was
that she had been awaiting him since the day before the
trial, and that he carried next to his heart the little notes
she had been sending him daily since his imprisonment.
Little white-winged notes that told him what his trouble
had meant to her — what it had taught her — of woman-
hood and service — of her own heart and whither her
heart lay. His broken young face seemed to heal as she
took him in her arms, much as his mother would do, and
crooned over him, and kist him.

That evening Bill Hawes rode to the Jucklin's tem-
porary abode. He begged them to come back to their old
home, still awaiting them. They couldn't resist. "We're
fine folks now, you know," father Jucklin reminded him,
"with all the money we've got salted away, but I guess
we're better off in the old place at that — with the school-
master to board with us, as alius, what say, mother?"

Mother said yes. She was weaving the tender patch-
work of her younger years, soon to be relived, now that
the storm was past.

A week later the Jucklins came back. Alf and Milly
were there — the old General had forgiven his daughter.
He had not yet come to the point of daring to approach
(Continued on page 119)

PA6

BMaa

THIS is a story, dear
reader, in which I'm
supposed to be breezy.
As there's probably
no breezier breeze that blows
than that which breezes at
Venice and Ocean Park, Cali-
fornia, I oughtenter have a
hard time to be breezy. How-
ever, if you want a salty, fresh
breeze, you'll have to go to
Venice and Ocean Park for it,
because I'm a gentleman, even
if I am a writer, or rather,
even if I do kid myself into
believing I'm one. (That's
better, isn't it?) Now, will
you kindly go on with the
story ? Camera ! Action !

"Yow ! Ooola, yippie wow !
Youla yippi bow ! We're hav-
in' an awful row. Oola yippi
yow !" Chief Red Feather,
whose association with civili-
zation has made him hate
women and soap, was giving
his Carlisle College yell at his
bow-and-arrow concession on
the pier at Venice.

In the chief's audience was
about the choicest collection of
movie talent ever gathered for
even the most stupendous pro-
duction. There Was dainty
Coleen Moore, handsome Pat
O'Malley, piquant Priscilla
52

Afi£

f -^ •

LA££A.

Dean, dashing Thomas Meig-
han, smiling Tommy Forman,
(I'm almost run out of ad-
jectives), radiant Katherine
MacDonald and Mary Mac-
Laren and David Butler.

Priscilla, with eyes tightly
closed, was shooting at a big
buffalo. (It was just a painted
one.) The chief was leaning
over; endeavoring to extract
one of the darts from the left
shank of the animal. Zip,
sped Priscilla's arrow, and the
chief retired to his boudoir.
We retreated in disorderly
haste.

"Over the Falls" next in-
trigued (that's a good word,
isn't it?) our attention. The
lady barker modestly an-
nounced, "Everybody goes
over the falls. Everybody
rides." Not to be outdone,
(as they say in the novels),
by anybody, we decided to go
over, inquir-
ing first if the
barrel we
were to use
was properly
upholstered
and padded.
We were
taken aback
when she told
us we didn't

Top, Priscilla
Dean deter-
mines to return
home by aero-
plane, and left,
a view of the
beach at Ocean
Park, where
the film favor-
ites disport
themselves

rmmM

MILES
HAMMOND

use a barrel ; but our
courage failed us not
— teedle te dum!
"Lead on!" we men
roared, and the
women lead. Dark
and devious was the
passage. The floor
reeled and so did we.
A skeleton shook ;
so did we. A tin
can rattled seemingly
on ten thousand
rocks; so did our
teeth.

Finally, to make a
short story long, we
reached the "eleva-
tor." A smiling at-
tendant (they always
smile in storie ) in-
vited us to enter, and he
stepped out. The door
slammed shut. Suddenly,
the seat flattened out and
we shot down a steep in-
cline at a dizzy Barney
Oldfield speed, our feet,
like periscopes, perpen-
dicularly preceded our
heads. We bumped into
the cushioned wall and
the girls began to collect

Above, Mary MacLaren and Pat
O'M alley try the Virginia reel;
center, Venice at night, when the
film stars on the various amuse-
ments are as numerous as the
stars in the heavens, and below,
Pat O' 'alley takes Coleen
Moore for a ride on the "Dipper"

themselves, along with their
extra attachments. After
we had gathered up 10,000
or so hairpins, we proceeded
to view the trained fleas in
a nearby concession.

The fleas may have been
called "trained," but they
were most unmannerly to
say the least. "Ladies and
gentlemen," said the con-
cessionnaire, "these fleas
are extremely unique, for
they bear the great honor
of being full of hops, which
is a big distinction in these
arid times." This was too
much and we withdrew to
watch the ostriches in a
nearby stall being plucked
along with the rest of the
tourists. For fear the birds
would attempt to eat the
grapes on Coleen Moore's
hat, we men piloted the
girls toward a concession
which depicted the feminine
charms of "Zu Zu, the
Arabian Hoochi Koochi
Queen" ; but we got no
farther than the barker's
(Continued on page 118)
53

Hlxe Marsk Fl

ower

a camera study of Mae «w-^ VEN California skies

Marsh, who is once more at I .• . . , •■

work before the camera, I"! SOmet,meS behave like

much to the joy of all the {\ ^ spoiled children, — just

fans, and, she declares, a when yOU want them

ereater joy to herself tQ show off their pre ttieSt and

let the world behold their
charms, clouds arise and they
become dull and uninteresting.

It was this kind of sky that was casting its somber
spell over Hollywood and playing havoc with motion
pictures the morning I had my interview with Mae Marsh.
However, the famous little star remained serene and un-
concerned, letting her director, John G. Adolfi, do the
worrying over silent cameras and loss of precious hours.
Mae Marsh is a name known everywhere that pictures
are shown and this means in almost every nook and cor-
4

of this old world of ours. Typifying, as

she does, all that is sweet and wholesome,

dainty and feminine, Mae has won her laurels

thru consistent and hard work, and she is

today one of the best beloved of all the

film stars.

After a year's absence she is once
more at work before the camera, much
to the joy of all fans and, she de-
clares, even a greater joy to herself.
This day, Miss Marsh was dressed
in a funny little calico dress with a
gay "tarn" bobbing about on her un-
ruly reddish brown hair.

Sitting on the steps of the "coun-
try store," the pivotal point of the
straggling street, she was child-
ishly digging the toes of her
sturdy shoes in the dust, while
the remainder of the company
lounged about, waiting for the
sun to steal thru the grey clouds.
The keynote of the new Mae-
Marsh thoughts was sounded
when, throwing back her head and
gazing into the cheerless heavens,
she remarked :

"Mary Ann loves sunshine, she
wont be happy today," and all thru
our chat the name of Mary sounded
like a sweet refrain, for this wee
daughter is not only the center but
the circumference of her fond moth-
er's life. Husband, career, family, —
all important factors, are overshadow-
ed by the glorious experience of her
motherhood.
"The nurses at the hospital tacked on
the name of Ann," Mae explained. "You
know, she was christened Mary Marsh Anns,
but it is odd how Ann suits her, so I find my-
self calling her Mary Ann much of the time.
See the freckles?" and she held out both bare
arms for my inspection, "there are millions of
them, for I have lived out of doors with Mary
since we came to California. She's sixteen months
old now, quite a big girl, and has attained the dignity
of the overall age, and will you believe it, she loves mud.
She follows the gardener about while he sprinkles the
lawns and selects every little mudhole for her special
playhouse," and mamma Mae, chuckled indulgently.

Tho Mae Marsh was born in the little town of Madrid,
New Mexico, and began her motion picture career in
New York, it is in Los Angeles that she has spent most
of her life, and she declares, she is happy to be back
again, — this time with her husband and the precious
Mary.

To make her stay seem more permanent, she and
"Hubby," have recently purchased a beautiful place in
the picturesque hills of Flintridge, on the outskirts of
Pasadena. The house, an imposing white colonial, com-
mands an inspiring view of the lovely La Canada valley
with its endless vineyards and orchards, while the rugged
mountains beyond form an appropriate back curtain.

"It's such fun to have a real honest-to-goodness home
of our very own," sighed Mae, contentedly, "and we had
a regular lark furnishing it just to suit our tastes. Such

ASlX

By
MAUDE CHEATHAM

a joke on me — when I was a little girl attending
a convent in San Francisco we were given prunes
at nearly every meal and I used to vow that my
children should never be afflicted with them. Well,
here we have six acres of prune trees and they
are loaded with fruit which Mary adores !

"I learned to cook and sew and all the rest of
the domestic virtues while I was still a small kiddie.
Mother always said she would not feel she had
fulfilled her duties to her daughters until they
were good housewives. It is a great responsibility
to have a house these days," she added, impres-
sively. "I had to buy a vacuum cleaner this week
and goodness knows, what it will be next week,"
and she dug her heels into the dust with extra vim.
satisfactorily?" I asked.

"Career and domesticity, — do they work out

"Perfectly!" And there was no mistaking. the
emphasis. "You see, I married just the right man
and he understands my work. I met Louis when
I first went East to make 'Polly of the Circus,' he
was doing publicity for Goldwyn. Now, he is de-
voting his time exclusively to writing, and tho our
work is different it is in complete harmony. In
the evenings he reads aloud to me what he has
written during the day, while I go thru the scenes
I made at the studio. We talk over everything
and each supplies the other with helpful ideas."

A shout from the cameraman brought us back
to the present, for the sun had burst forth, flood-
ing the little set with its brilliance.

"Quick, let's get to work," called Director
Adolfi, and the next moment Mae
was enacting a pathetic'little scene. ^^^^

She was in the midst of her new
Robertson-Cole picture, "The Little
'Fraid Lady," adapted from Marjorie %,

Thii "girl of a thou-
sand faces" has a
well-suited role in
"The Little 'Fraid
Lady," her new Rob-
ertson-Cole picture.
She possesses far
above the average
ability to express
her emotions in her
face

Benton Cooke's
story, "The Girl
Who Lived in
the Woods," and
in the words of
the star, it af-
fords her a "per-
fectly darling
part."

Enthusiastical-
ly, she went on,
"There is everything in it, — tender
pathos, wholesome humor, and the
girl is so deliciously human all the
way thru that I have become deeply
attached to her. This is because I
seem actually to live her life."

I did not doubt this, as I recalled

how completely she merges herself

into her screen characters, bringing

a wistful and poignant appeal, pecul-

(Continued on page 101)

PA6

^56

SLA££

LA6<

^^»

^MMHMMamn

Left and right,
Theodore Rob-
erts in "Some-
thing to Think
About," and
below, a cam-
era study

<Tke
Admirable
Optimist

THE Hollywood film
colony has many
members who pos-
sess more than the
average good things of this
world: beautiful homes,
high-powered motors, hand-
some clothes, . . . fame. Yet
happy-go-lucky, ambitious
as they are, the average can
find something to complain
about. They pooh-pooh pic-
tures as inartistic . .-. or
they think they are being
given a raw deal of some
kind : poor story, poor di-
rection, poor lighting.

Not so Theodore Rob-
erts. He appreciates pic-
tures . . . and what they
have brought him. He ad-
mires them as a medium for
his art.

"Why, bless you, I love
pictures," he said when I
asked him his opinion, and
later ... "I love Hollywood
. . . and the Lasky studio.

I've been here seven years now. I dont have any worries
of production, I have a lovely home, a vacation every now
and then, when I can shoot duck and go fishing . . . Why
shouldn't I love pictures? Many people ask me why I
dont go in the directing end of it. Why should I ? I dont
want the responsibility. Besides, a director can never be
in as close touch with his audience as an actor. I like to feel
that Theodore Roberts means something to the people
. . . that it isn't just an empty name."

But one who knows Theodore Roberts only thru his
many and varied appearances on the screen can not im-
agine the boundless, alt-enveloping aura of benevolence

By
SUE ROBERTS

Photograph by Northland Studio

and good cheer which he
creates wherever he goes.
He has always a sympathetic
ear for the misfortunes of
others, and a ready word of
encouragement. He is
"Daddy" Roberts to every-
body in California, as vital
a part of filmland as the sun
is to California.

Theodore Roberts' love
of California is a natural
one, for he was born here,
in San Francisco. He never
saw snow falling until he
was twenty years old, the
occasion being his first trip
East. He remembers Los
Angeles when it was noth-
ing more than a cow path,
and he is not ancient of
years either.

"Sixty years old,"
calls himself.

"Come, be honest," I
pleaded; "you're not that
old."

"Well," he said, "I'm fif-
ty-nine, if you must have the truth, but sixty's so much
easier to say."

Tall, vigorous, with clean-cut features, and a complex-
ion thru which the healthy red corpuscles pulsate; a fas-
cinating age, that.

Fifty-nine would seem to be also the age of discretion,
for Roberts has learned how to be happy, contented ; how
to get the most out of each day . . . For instance :

"Dont ask me which part I like best," he said. "I enjoy
doing each one."

He believes that the screen has taught the actor a true
pantomime . . . and that it is far ahead of the stage in

»A6

pws&SSH.

Photograph (above) by Northland Studio

Fifty-nine would seem to
be also the age of discre-
tion, for Roberts has
learned how to be happy,
contented ; how to get the
most out of each day . . .
Above, a new portrait,
and right, another scene
of "Something to Think
About"

even with the best-known

that respect. He thinks
that the actor should ap-
preciate the fact that in
pictures one's salary
goes on even during va-
cation, while on the stage
they must rehearse many
weeks without pay, to
say nothing of the long
intervals which occur be-
tween engagements,
stage actors.

Roberts recalls one period during his stage ex-
perience when he went for nine months without
an engagement. He was offered certain parts, but
he felt that he could not accept them without low-
ering his rating.

One of his pet anecdotes concerns a friend of
his, who came to him complaining about his bad
luck. He had been unable to get any sort of part
for many weeks.

"Well, why dont you give up acting?" asked
Roberts.

"What else can I do?" exclaimed his friend.

"You might try digging ditches/' suggested
Roberts, facetiously.

"By George, I will," said his friend.
58
A&e.

Several days later he visited
Roberts and exhibited a black eye
and other bruises.

"See what you've done to me?"
said his friend, fingering his black
eye. "I made up as an Italian and
got work digging a sewer on
Broadway ... but all the other
workmen were Irish!"

Daddy Roberts munched on his
omnipresent cigar in its well-worn
cigar-holder. As a raconteur, he is
at his best.

"The other evening," he con-
tinued, "Mrs. Roberts and I were
at the Orpheum — we have the same
seats each week thruout the year
— when I noticed a man seated
nearby staring at me. Presently he
leaned over and said smilingly, 'It's
a more comfortable seat than the
crate, isn't it?'"

The man was alluding to the epi-
sode in "Male and Female," where
Mr. Roberts was adrift at. sea,
alone on a crate, except for a
frightened chicken (fowl).

Taking that picture was a wet
experience, according to Mr. Rob-
erts, for the crate was slippery and
the waves dashed over him every
little while; also the waves were
cold, whereby hangs a tale.

Mr. Roberts had just dried him-
self on the beach, when Mr. de
Mille decided to film some nibrer
(Continued on page 97)

LA££A.

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The Demand for Light Comedy

Recently a film organization made a survey of the ex-
hibitor field with a view towards determining public taste
in photoplays. Over 10,000 theaters were included in the
final tabulations.

The answers received indicate an overwhelming demand
for frothy comedies, or, to be exact, light comedies of
society life in which a young woman has the leading role.
Emotional dramas held second place.

This demand for comedies of manners is an interesting
development. It indicates an intellectual advance from
the days of slapstick. Yes, the photoplay is advancing.

Scavengers of the Screen

It was inevitable, we suppose, that monthly pamphlets,
(we shall not honor them with the word magazine) , should
appear dedicated to scandal of the screen. We have long
had them devoted to the stage, to society and
other interests.

Yet these scandal sheets are exceed
ingly injurious and damaging.
There is a field for gutter com-
ments in every avenue of
artistic endeavor. But we
should not forget the
millions of photoplay
lovers everywhere
who hold the film
as a thing apart —
an ideal of dreams
and illusions.

Again these
scandal mongers
sometimes arouse
our anger. Con-
sider a recent issue
of one of these pam-
phlets with a side-
ways attack upon
David Griffith. Were
it not for Mr. Griffith,
this sheet would not be
existing, for it was the
object of this unjust attack

who almost individually lifted the screen to its present
affluence and artistic level.

Poor little scandal scavenger of the screen !

The European Film Arrives

Americans are going to see much of European-made
productions within the next two years. Perhaps a little
of our self-satisfaction in our photoplays will be upset
or at least disturbed. We wonder.

First on the coming wave is "Passion," which is the
German-made film, "Du Barry." This is the production
which has been causing so much comment abroad and
which is a remarkable cinema contribution. "Passion" hails
from a Berlin studio, with Pola Negri in the leading role.

We hope film fans will make a point of seeing European
pictures. It will give them a fresh viewpoint ; it will
broaden their knowledge of the silent play. Let us guard
against provincialism.

Politics on the Screen

The presidential election is now over. The screen played
a limited part in presenting — via the news weeklies
— a review of the various timely developments.

But pause to consider what would happen if the
screen suddenly threw its weight to one candidate,
if the screen of our 17.000 or more American film
theaters consistently advocated the election of one
man. Here would be propaganda reaching the
American public as nothing has ever reached it.
The screen's candidate would win. Of that we

are sure.

Potentially, the
screen is a sleeping
giant. Let us keep its
power clean and un-
impaired.

Original
Film Stories

#w<*&s

Where Are the Nextf Personalities?

Probably you — being an ardent screen fan — have noted
the lack of new personalities among the film player folk.
Actually, no new face of unusual promise has appeared
within the year. Why ?

Turn to the field directors. Promising new faces are
cropping up here with astonishing rapidity. Consider the
case of the creator of "Humoresque," Frank Borzage,
for instance. Or of King Vidor, maker of "The Jack
Knife Man."

The whole thing may be briefly summed up. This is
the era of the director and the story. Film fans are taking
a profound interest in the personality o'f the men and
women behind the picture. Here, indeed, are the real forces
to advance — or retard — the photoplay's march ahead.

Indications of a recent
survey disclose an over-
whelming demand for
frothy comedies, or, to be
exact, light comedies of
society, life, in which a
young woman has the
leading role

Every real thinker
of the silversheet
knows that
the photoplay
cannot achieve
its real force
until it devotes itself
to original stories
written for it. It must cease to
adapt tales devised for the read-
ing table or the stage — tales de-
veloped in an entirely different
story-telling channel.

The screen must develop its
own technique. It is time that
it ceased to ape the theater, the
best seller and the popular magazine. For the future of the
photoplay is unlimited, beyond the wildest dreams of the
cinema dreamers. Listen to the recent comments of the
novelist, Sir Gilbert Parker, who, after saying this very
thing, remarks :

"The film is irresistible. It is also illimitable and inter-
national. It depends on the public and on authors whether
it be made a great agent for good in the world. It might
become an agent for evil ... It is more universal than
language. It is more widespread and effective than music,
sculpture and painting."

Enlightening comment, indeed ! J\

59 ■

PACli

apper rair

long suede gloves. To the casual
observer she was an attractive,
modishly gowned young woman
with a manner of unusual poise
and dignity. But I, in the
role of interviewer, saw a
slim, childlike being, in her
dark eyes the flame that
kindles itself ever and
again in the eyes of youth
— her vivid face aglow
with interest at the gay
scene about us, her
whole personality be-
speaking buoyant spir-
its, girlish enthusiasm.
It seemed hardly pos-
sible that this young girl
has traveled several times
across the continent,
knows every large city in
the United States, has stud-
ied in the art centers of
Europe, invaded musical com-
edy, then pictures with much
success — but we're getting ahead
of our story.

I'M sure she
wont mind my
calling her that
— Flapper
Fair. She will
crinkle up her
brown eyes and say
with an amused
shrug of slim
shoulders ; "that
person saw thru me

all right — she knew I was not serious and
dignified and grown up."

The interview took place at the Algonquin
where live and congregate many of the great
and near-great of stage and screen. Where
congregate also many followers of those sup-
posedly favored ones ; some to worship from
afar — some otherwise. It was late afternoon.
Mingled perfumes and laughter filled the air
with a drowsy languor. There were smart-
ly gowned women, perfectly groomed men,
keen-eyed critics, representatives of the
press. The world theatrical was repre-
sented there as Elinor Fair stepped from
the elevator and crossed the lobby to where
I waited.

She was wearing a wide-brimmed velvet hat
that just matched her very lovely brown eyes,
a Frenchy looking long-waisted, short-skirted
frock of brown with pipings and buttons of
darker brown. She wore trim brown pumps
f\ and carried in one small white hand a pair of
"60

lAGl

LILLIAN MONTANTE

I talked to Elinor Fair only two
days before she was returning to
the Coast. Following the comple-
tion of "Kismet," she had come
East with her mother for a change
and rest. But the "rest" proved to
be only a change of scenery, as the
chance came to do a leading role
in "Body and Soul" with Eugene
O'Brien, which she promptly ac-
cepted. This kept her busy eight
weeks. Then, she had orgies of
shopping, she told me, and pro-
tracted sessions of posing for pho-
tographs and now she was wait-
ing for the showing of "Kismet"
to the press and profession before
going back.

"How old do you think I am?"
she demanded, almost at once.

"About twenty-one," I prevari-
cated. I thought eighteen — but
sometimes it's best not to say what
one thinks to a would-be dignified
grown-up young lady.

"Really? — In reality, I am only
nineteen, but. sometimes I feel for-
ty, Eve been thru so much."

"So much" — I encouraged.

"Yes. Why, I am a pioneer in
the picture business. It's five
years since I made my start — I've
almost grown up with the busi-
ness. I was born down in Rich-
mond, Va., but have never lived
any place except in suit-cases and
trunks. When I was five, we went
to Honolulu. When I was nine,
we went abroad. I studied music,
the violin and voice in Paris, Leip-
sic, Brussels. Then the war broke
out and we came back to the States.
I had a chance to do a picture with
Clara Kimball Young, which I ac-
cepted, then two with William
Farnum. I dont know why I ever
thought I could act, unless it was
because my grandfather was a
minister," she said mischievously.
"Then mother, from whom I in-
herit my voice, insisted that I take
up my music again. After a cou-
ple of years of voice culture and
lessons in dramatic expression, I

tried musical comedy for experience. Had a season in
San Francisco, then was again lured away by pictures —
this time a co-starring contract with Albert Ray. Then
came the chance to do 'Kismet.'

"So, I have traveled and studied and worked and have
covered much territory while doing so. I have been
thru quite a lot, haven't I ? At least, I feel very experi-
enced. You see when I first went into pictures I was
only a child, but I was tall and serious and went right
into grown-up or ingenue parts. And I have been in the
business so long, everyone must think me quite old — per-
haps twenty-three or four! It's dreadfully hard to live
up to it."

"Is 'Kismet' the biggest thing you've done?"

Photograph by White Studios

It is hard to decide in
which role she is most
lovable . . . but we think
we like best her spirit of
girlishness, unspoiled and
sweet . . . just Flapper
Fair

"Well," reflectively, "in a way
it- is. Of course, being associated
with Otis Skinner was a big
thing, a wonderful opportunity,
which I appreciated greatly. We
worked thirteen weeks making
'Kismet.' Such a wealth of de-
tail is involved in a big produc-
tion like that. The atmosphere, the settings, the cos-
tumes must be in harmony, else the whole thing is made
ridiculous.

"Of course, fti Skinner was marvelous during the
making of the picture. Having created the role on the

(Continued on page 109) J\

PAfili

' ^

Twilight Moments

Twilight! . . . Exit
the actor . . . Enter
the man. The studios
forgotten until another
day, Eugene O'Brien
finds pleasure and re-
laxation in his apart-
ment overlooking Cen-
tral Park, New York.
Herewith are three
pictures of Gene in his
bachelor quarters

k I

Afi£A

•

To Please

One

Woman

JANET REID

THE House of Mystery
was to be opened !
For ten years it had
stood, towering and
grim, on the ragged dune,
with its immediate lawn dis-
reputable, its manifold shut-
ters hanging, half off with
each storm, its wide verandas
and balconnades the plat-
forms for the terror-lashed
sheets of water and for, who
knows what, phantom feet.

Now, after all this time, it
was to open its dim, mysteri-
ous doors, its shuttered win-
dows, its uninhabited re-
cesses.

Conley, the chief grocer of
Seagirt, knew it first. He
knew it because an efficient
looking man-servant with the
air of one servilely and thoroly
intimidated had come there for
a mammoth order of scour-
ing soaps and scouring pow-
ders, bleaches, varnishes and
what not. Conley, in a panic,
had had to post into Asbury
Park for the supplies.

Conley retailed his news abroad. He elaborated on it
somewhat. It was, however, one of the rare tales to which
no elaboration does full justice.

Then the Post Office acquired some details. Seagirt
began to hum. It was dreadfully exciting.

Everyone asked everyone else what had been heard.
The least detail was given with gusto and received with
avidity. The House had been a matter of weird specula-
tion for so long. There had been so many differing tales,
surmises, legends. It had almost become a tradition of
the place — the gorgeous, grim place and its prolonged
untenancy.

The Granvilles loved it. Especially Cecilia. But then,
the Granvilles, each in a different way, loved almost every-
thing and almost everybody.

There were four Granvilles. Father, commonly called
Dad, Alice, gravely sweet and "a great reader." Cecilia,
hyper-romantic and excessively fond of boys, moonlight
dances and paper novels, and Bobbie, called L'il Brother
and with all the exasperatingly endearing qualities com-
mon to the small brother of two older sisters. In every
respect Bobbie qualified. He was, perhaps, nearer to
Alice. Alice was essentially maternal. Her mother's
early death had made her so, or rather, had added to the
fundamental quality already inherent in her. It was her
maternal quality that helped her thru the dark, days to
come — dark days generated in the House of Mystery.

Dr. Jim Ransome was also interested— mildly and pro-
fessionally.

"It seems," he told the curious Granvilles, on his cus-
tomary evening visit; "that the new tenant is also the
owner — the fabulous Mrs. Lee. She will probably be ail-
ing most of the time. They say these rich city women
always are, having nothing else to do. They also pay
fabulously for a physician to tell them to do nothing at
all. It may be a bully thing for us — " He looked at
Alice. It had been "us" with them for some months now.
They were just waiting for Dr. Jim's practise to "bright-
en." There was no definite destination to the "waiting"
— but they were young and so optimistic. They loved
each other very much in a tranquil twilight fashion — with
occasional red flares rather terrifying to Alice who wor-
ried about herself whenever one took her by storm.

Cecilia said, ecstatically, "Suppose she should be beau-
tiful, Jim, and — and slumbrous — oh my !"

"Dont be a goose, Cecil," said the doctor. He sus-
pected a potential neurotic in the young Cecilia. She was
most outlandishly young, he thought. Cecilia paid no
heed to him. He was by way of being a relative and as
such had lost all romantic value, the only value that was
value in her eyes. She went on :

"She might fall in love with you . . . you might save
her life . . . she might say 'Let us flee, Orlando, to some
southern clime, there to live and love our roseate rays — no,

pas

TION pICTURF

MAGAZINE L

Dr. Jim and Alice had been
getting the dinner. Once a
week they did that together,
"just to get into each others'
ways," for they had decided
to be helpmeets in every
sense of the word -

days — away — to dream ...
to—"

"Cecilia!" Alice spoke with
hurt reproach. Bobbie emit-
ted a slang anathema. Dad
interpolated something to the
vague effect that Cecilia had
better turn her attention to
her Latin verbs, at which she had shown a consistent
stupidity born of neglect. Cecilia groaned at the thick-
grained prosaicism of her family in toto. She was glad
to see Freddy Bent, her one, her impecunious suitor.
Freddy did not satisfy her instincts, but at least he made
sheep's eyes at her, and in the moonlight she could im-
agine what was not. Eventually, they strolled over to
the beach, there to inspect the House of Mystery, more
mysterious now than ever before since life was to step
in and cast on the wall substance where, for long, there
had been shadow.

Later, Alice and Dr. Jim strolled over, too. They
stood, arms entwined, on the beach, staring up at the tur-
reted colossus.

"We used to think it might be ours someday," Alice
murmured, "just at first
— weren't we silly, dear?"
"I dont know," Dr. Jim
laid his dark head against
her fair one ; "not so silly,
perhaps. I can see you
there, belovedest, but
somehow I can see you
best in some low white
cottage where the roses
grow and the days and
nights go gently and with-
out alarm."

Alice snuggled to him.

"How sweet you are,"

/TNshe sighed, "and safe.

f.64
lAfifi

TO PLEASE ONE WOMAN
Fictionized by permission from the Paramount Release
of the Lois Weber production of the scenario by Lois
Weber. Directed by Lois Weber, and starring Claire
Windsor. The cast :•

Alice Granville Claire Windsor

Cecilia Granville Edith Kessler

Freddy George Hackathorn

Dr. John Ransome Edward Burns

Leila Mona Lisa

Her husband Howard Gaye

Lucien Wainwright L. C. Shumway

Bobby Granville , Gordon Griffith

Sweet — oh, you are
sweet, Jim !"

The following
week the rich Airs.
Lee arrived. Cecilia,
excited in narration
of the event, was the
fortunate witness of
the epoch. She told
it at home that night
at supper.

"A lavender car,"
she elaborated,
"done in grey with-
in._ A man, no, two
men, in livery, very
straight and fine. . . ."
"Cece," grunted
Bobbie, his mouth
full, "dont talk like
a bum book — talk
real"

Cecilia withered
him with what she
considered "a look."
"She was within,"
the small romantic-
ist rhapsodized hap-
pily on. She was in
violet, too, violet
and grey and there
were orchids at her
breast. Her eyes were half shut; her lips were as red as
red and they were smiling, and yet, Al, they didn't seem
to be smiling, either. D'you know what I mean, not a
smiley smile like we do. I cant describe it . . ."
"Say not," choked Bobbie over his stewed fruit.
"Your manners are disgusting," said Cecilia. Fearing
an affirmation from Dad on this particularly unfortunate
score Bobbie retreated from the field. Apparently, Alice
and Dad were interested to the point of forgetting
Cecilia's absurd method of telling that a swell dame had
hit the burg. Oh, well . . . This was but one of many
mysteries. ...

"She didn't look to right or left," Cecilia went on,
her spoon poised in mid-air; "until she passed Dr. Jim's
house. He was just coming out to the gate with Gran'ma
Tibbs. The Lovely Lady turned her head ever so slightly,
oh, ever so slightly and wearily, you know. She saw Dr.
Jim and her eyes widened — they're the dreamiest eyes —
and I think she smiled at him. She must have' thought
she recognized him. Perhaps they had been Queen and
slave in some past incantation . . ."

Alice was gently indignant. "Jim never was a slave,
Cece," she said, "and besides, it's 'incarnations.' . . ."

Cecilia dismissed the
rebuke. "What does the
word matter," she said,
"and besides, Alice Gran-
ville, I heard Jim himself
say a country doctor was
often time a slave."

"He was out of sorts,"
Alice defended, "or he
wouldn't 've. He takes
his calling highly."

Cecilia dismissed the
subject. "Well, anyway,
that's all," she said,
"Freddy and I are off to
do a sneak 'round the

AG£A.

■**

place. We may have something to report when we re-
turn." She departed with a swish of her abbreviated
skirts. ;

The Granville family sat in momentary silence, then
Alice said, puckering her broad white brow a trifle; "I'm
worried about Cece, Dad, she reads such trash and . . .
and she likes the boys . . ."

Dad was reassuring. ''She's painfully young, dear,"
he said, "sixteen . . . we've babied her . . . she'll get
over it. You just keep talking to her. A Granville is
solid."

At the House of Mystery the beautiful chatelaine was
lounging and petulant. Why had she come here ? AVhat
should she do here ? Why hadn't she stayed in town and
committed a revenge more agreeable to herself, less im-
molating? This stupid place — these stupid people — dull
— dull — DULL ! How she abhorred it, dulness. How
she loathed it, mediocrity ! And she had come into the
natural haunt of it. And this
house — haunted by salt of the
sea and savor of the wind-
dreary despite the magnifi-
cence of its conversion, chill
for all the color and warmth
of perfume she, personally,
was able to bring to it. Life
... it shuddered about her as
wind. . . .

There had been one high
spot on the stupid, windy ride
down from town. Just as
they came into Seagirt, a
young man, helping an old
woman, had come out of a cot-
tage door. He had been
straight and strong. He had
interested her. That was
what she needed, demanded,
to be interested . . . That,
all along, she began to believe,
with self-injury, was what had
been the matter with Lee, her
husband. He had never in-
terested her. He had been
like some puerile machine
pouring into her hands, when
he could, jewels and gold,
begging, as he poured, the
payment of her exotic and in-
different caress — pleading
with her for her tolerance
when he could not, begging
her to "wait" — A poor, hunt-
ed little victim of Wall Street
and a woman. . . . His Nir-
vana, a kiss dearly bought and
heavily paid for. Still, he had
never held her. . . .

She decided to be ill. She
knew various ways of being
ill. It was done by the wo-
men of her "set" in town. It
was, in fact, one of the most
approved methods of extor-
tion. Cold hands, pulsing
temples, judicious tears, slight
moans — what had they not
acquired in the way of con-
solatory checks and jewels
and motor cars. A headache
of hers had wrung Lee dry of

/t7\MOTlON PICTURI

"•Ihel I MAGAZINE

more than one substantial banking account ; had over-
drawn his heavily charged check book times without
number. Of course, with a doctor . . . she would have
to resort to ice for her hands and digitalis for her heart,
would have to be more scientific . . . but he was very
young, very unschooled, no doubt . . . and when had
science been proof against white witchery ?

The next day she saw him with Alice. They were
walked as lovers walk, lingeringly. . . . The woman
smiled, the sort of smile Cecilia had reported. "Of
course, he would have a rustic sweetheart," she mused,
back on her veranda again, and she held out her beautiful
arms to the infinite, beautiful
sea. "What matter?" she
smiled, "the child with her
milk-and-roses cheeks and her
clovery caresses will have but
prepared him for the myrrh
and sandalwood with which

He sought out Leila and
tried to forget. He had come
down to see Leila. She was
his sort, but he found her as
unresponsive as Alice had
been, in her different way

(pre

ION piCTURF
" IE -L

I shall steep him. It is to be a rare adventure ... I
know . . ."

She called Dr. Jim the first time at night. He was not
at home. The maid told her he was having supper with
the Granvilles. Leila had made it her business to find
out that the "rustic sweetheart's" name was Granville, Alice
Granville ... so he was there .... Her smile was
amused when she rang the Granville's.

Dr. Jim and Alice had been getting the dinner. Once
a week' they did that together "just to get into each other's
ways." , They had decided to be helpmeets in every
sense of the word — he was to help her with her part of
the burden (would it ever be a burden?) and she was to
help him with his. Why, already she had struggled thru
several heavy volumes on "Materia Medica" with the aid
of several medical dictionaries and Dr. Jim. She didn't
know much more than she had before, save that she had
a most profound respect for the calling.

Cecilia came into the kitchen with the message. "Jim,
you're wanted at the House of Mystery!"

It was. a bomb.

Up to that moment Jim and Alice had been floury and
laughing. Now an important thing had occurred. The
little kitchen, the luscious supper, Alice, Jim himself be-
came insignificant. The Future . . . the Future had
beckoned. . . . Jim said, professionally, "I'll go at
once."

Cecilia threw a wicked eye. She went forth to tell
Freddy that "Heaven knew what would come of it?"

Dr. Jim did not return to the Granville home for sup-
per. He did not return at all. He didn't return to his

own home until long past the
midnight hour. When he did

Leila's husband appeared in tum Jn ^ h{& Qwn tg ft wag

her boudoir at the House of . , ..' , .' . :9 .

Mystery. Ransome was with With a slightly hesitant foot-

her on the chaise longue, hold- Step in place of his CUStOmary

ing her warm responsive hand firm and Springing Walk. He

i <B

was troubled. He was confused. His senses were as-
sailed and his resentment was a complication. God, how
beautiful she was ! Why . . . the poets were right — the
erotic poets, Swinburne and his kind. There were wo-
men who maddened. There were women competent of
rare perfume, of fragilities of lace and flowers, of heavy
coiled serpentine hair and appeals like languorous voices.
And her hands ... how cold . . . until he took them
and felt beneath his palm the delicious rose-red blood
come coursing into them again. Had he ever before ex-
perienced just that immeasurable thrill? That night he
didn't sleep.

In the morning he whistled as he passed the Granville's
according to his matutinal habit and Alice, pink and fresh,
came running out to thrust in his button-hole her offer-
ing of a rose but as he walked on he felt his smile and
kiss had been a shade perfunctory, the rose scratched him
with an unexpected thorn and he remembered that Alice
had had a daub of maple syrup on her arm. He shook
himself with disgust. He was becoming "as bad as
Cecilia!"

He had three calls from the House of Mystery that
week. Once it took him away from Alice and the other
two times from other calls he really should have made.
By the end of the week, Leila, who professed to be suffering
a species of malnutrition, discovered that she could not
eat save by his hand, and as her whims' regarding food
took place at curious and dangerous times, such as mid-
night, he became accustomed to supping with her in her
boudoir at any sort of time.
White witchery . . .

Always, he would go away with a sense of dizziness
in his brain. Was it the perfume? Was it the hour?
Was it weariness ? Was it — the woman ? Was it a potent
combination of all these things, not to be resisted? When
she called, altho he suspected exaggeration, why did all
calls, all other patients seem relatively unimportant, color-

less? Why
did they not
matter ?
What was
the matter
with him?
Why, he was
necessary
to her, of
course, her
physician.
She was deli-
cate, strange,
alone . . .
was there
anything so
strange ? Ah
yes, but it
was strange
too
strange . . .
and the three
fourths per
cent normal-
ity of Jim
Ransome ad-
m i 1 1 e d it.
Dear Alice
. . . why did
he always
think of her
as floury, as
flushed, as
anxious . . .
A curious

lA£U

■■

kinship, even, for Cecilia as-
sailed him. Cecilia and her
ridiculous romance. And
then Leila would need him
and he wouldn't speculate.
He would simply go, and for
an hour or for two hours, for
luncheon or for dinner or for
supper, resting on a chaise
longue beside him or clinging
to his arm as they took a lit-
tle constitutional for her
nerves, he would forget . . .
forget . . . forget . . .

She would tell him of her
life in town, starved, she said.
Of her money-mad, money-
making husband and the
abuses and neglects that were
hers . . . neglects that had
driven her here to seek solace
in the sea, in the balm of earth
and air.

He would mutter it was a
shame . . . couldn't under-
stand it . . . couldn't . . .
and insensibly he would move
nearer to her as tho to protect
her fragile, lovely body from
imaginary assault.

Alice was patient and un-
derstanding. She missed him,
she said, but it was for "their
future" — it was what a doc-
tor's wife must expect. He
was to go right ahead and not
to mind her. The first time
he could get away from Mrs.
Lee to have dinner with her,
he was to let her know and she
would cook for him all his
favorities. She did love him
. . . Ransome kissed her, and
the mingled perfumes of Leila
smote him like her soft hands
. . . pulled him away . . .

A week after her arrival a
yacht anchored in the basin.
It was reported to belong to
Lucien Wainwright, one of
New York's wealthiest club-
men. He was a friend of
Mrs. Lee's. The Seagirt
News gave him most of the
front page the day the Geisha
Girl anchored off-shore.

Wainwright had come be-
cause Leila Lee had sent for him ; he happened to be bored
and surfeited and the location, if not Leila, sounded
piquant. He was fed up on the Leilas of life. Of course
this one was damnably alluring, he admitted . . . and had
been more or less inaccessible ... there" was promise . . .
The second day he saw Cecilia Granville. She fell in
love with him, told him so and took him home to supper.
There he saw Alice and he fell in love with her. She was
something fresh and surprising. Her brow was like a
prayer and her hands were what hands should be, white
and firm and capable. Her. eyes were wide and wistful —
wise too — she was unresponsive. He, sought out Leila
and tried to forget. He had come down to see Lelia. She
was his sort. She was as unresponsive as Alice had been,
in her different way. He told her she behaved as tho she

CeM ^^™

Alice and Dr. Jim in the or-
chard . . . "If you could
forgive me . . . sometimes
forgiveness is the only con-
summation," he said. "But,
unless you understand as well,
I dont want you to. It is your
understanding that I crave"

were in love — at last. She
told him he, also, acted as tho
he were in love — at last. He
admitted that maybe he was.
They had cigarets and phi-
losophized bitterly.

At midnight, Leila sum-
moned Dr. Jim for a case of

distraught nerves. He fed her delicacies and she fainted
in his arms. He kissed her and she clung to him and there
seemed to him to be the sound of manifold bird's wings
flapping — birds with hurt voices and hurt hearts. He
went home in a maelstrom. He felt unlike himself, the
victim of a potion, too sweet to be aught but poisonous.

(Continued on page 115) f\

67 j

PAS Li

•.

Trie Movie on
tke Briny Deep

SOME folks say the
movies clont move,
but here is a story of
movies that do move
— so fast that they circum-
navigate our globe before the
landlubbers know they have
been released. From New
York to China they move, and
from Alaska to South America.
Up and down the Atlantic and across
the Pacific and on around until they get
back home again.

Here is how two motion pictures moved,
"the Miracle Man" and "Male and Female" set
out from the Navy Motion Picture Exchange for
Guantanamo, Cuba, where they made the rounds
of the entire Atlantic Fleet. Then they sailed for
the Asiatic station and at Manila entertained our
boys on board the "mosquito fleet," as these vessels
were termed by the sailors. Thence to Siberia for
the pleasure of the lads serving on our Eagle boats.
A trip to the Mediterranean followed. Soon they

LOGAN E. RUGGLES,
U. S. N.

Top, where the films are
edited aboard ship; left,
Lieutenant Joseph J.
O'Reilly, in charge of the
Navy Film Exchange; be-
low, preparing for the
evening performance, and
lower left-hand corner, the
Pacific Fleet photographic
party

were back again at the Exchange, making the return
trip on board some submarine chasers via Gibraltar.
Even then they did not stop moving, for they were
ordered to the Pacific Fleet and the last heard of
them, they were going the rounds of our battlers
over there. How's that for traveling.

Our fleet reaches round the earth and our
sailor boys must be entertained,
so each ship becomes a "movie

Left — Official Photograph / /— ,• j , irvo\

U. S. Naval Air Service (C OlltlllUCd 0)1 pCIQC 108)

l.AS^^

The Hoosier

In Gotham

By BETSY BRUCE

IT was all wrong in the first place. Per-
fectly ridiculous, as a matter of fact, to in-
terview Monte Blue over teacups. Never-
theless, it happened that way, and there was
only one thing to do — make the best of it, as he
was doing. The Hoosier had come to Gotham.
He knew the proverb perhaps about Rome and
the Romans. Certainly he was doing as those
in Gotham did.

"It's all right if you're used to it," drawled

Monte, referring to little old New York,
I cant sleep. Cant deafen my ears to the traffic
outside and the sounds of the people living above
me, below me and to the four sides of me.
Reckon I'm lonesome to hear the coyote steal-
ing down the mountainside on a chicken hunt,
and to hear the trees sighing like they do out
there where I come from, and to see the black
western nights closing in about me."

He said he was sorry tho that he had not
visited the Big City before, as it had offered him
much. He had enjoyed the theater, the other
arts and the fine shops with all they offered. As
to the subway, he ssemed to have serious doubts
on this score and he emphasized the fact that
the trains always went under the river at a great

"They've
been

it for some-
time now,"
soliloquized
Monte, "so
I guess it's
all right, but you know darn well
that they always hit it up until
they get from under the river.
However, I dont complain — it
suits me when they hit it up. I'm
not jest comfortable whizzing
along when I know there's water
— and a whole river full of it —
above me."

Monte has a kindly look and his
brown eyes crinkle when he talks
— he respects interviews, I think,
but he does not take them alto-
gether seriously.

(Continued on page 111)

69
pa a

A New
Heroine
for Barrie

Lois Wilson is the ideal type
for Barrie's play. She is sen-
sitive to his delightful whim-
sicality, and is one of the few
favored mortals who can take
herself seriously and not be
a bore

'A'

LL right ! Drag her in !"

The door at the
right of the set burst
open and a gigantic
brute of a man appeared drag-
ging behind, by the hair of her
head, a shrieking young girl !
Thus did Lois Wilson make her debut in the film world !
I had gone out to the Lasky studio in search of Maggie
(\ Shand. I had read that the famous role in "What Every

Afifi

Woman Knows," so long the
untrespassed-on property of
Maude Adams, was to be
given, for the screen produc-
tion, to another — and from all
accounts, Lois Wilson was to
be the lucky girl. I found her
sitting in solitary state in a set
where a parliamentary election
was being staged. All around
her were Englishmen of vary-
ing classes, cockneys with
their loud-checked caps, dig-
nified politicians, worthy mem-
bers who were supporting this
candidate or that, and the
groups of Kleiglights that al-
wa}'s manage somehow to give
a stark appearance to the set
about them. In a blue velvet-
een dress, at least, I presume
in my masculine ignorance
that it was velveteen, of severe
simplicity, an unbecoming
brown fur neckpiece, and a
coiffure too plain to merit the
name, she sat erectly waiting'
a call from W. C. de Mille,
the director. Yet I could not
help but notice the real beauty
in her eyes, large and softly
brown, and the friendly,' nat-
ural smile with which she
greeted me. We found two
seats off by ourselves and, with
all the noises of a busy studio
sounding an insistent obbli-
gato, she told me of many
things — herself among others.
"It was in 'The Dumb Girl
of Portici,' Anna Pavlowa's
picture, that I had my first
taste of pictures. I was a
Chicago girl then — tho I call
Birmingham, Alabama, my
home town — with footlight
fever and prejudiced parents.
But when a Southern woman,
Mrs. Phillip Smalley, under-
took the making of 'The Dumb
Girl of Portici,' I was per-
mitted to go, with some high school chums, to visit the
studio. We were mistaken for applicants for extra work.
They wanted a girl they could drag around by the hair
and because I had such luxurious tresses — they came to
my knees then — they pounced on me. The other girls
were scared to death and turned down offers of work.
But I saw opportunity and offered it my forelock. It
was a painful procedure but I accomplished my aim.
I've never been away from picture work since."

The great appeal of Lois is her quiet charm, a gentle-

Photograph by

Northland Studios

By
WILLIS GOLDBECK

ness in which sincerity is the
most obvious ingredient. Her
voice has a soft quality, a pianis-
simo that lulls at the same time
that it intrigues. She is grace-
ful of body, in the way that the
Greeks were graceful, deliber-
ately and with a perfect poise.
I noticed that during all the time
that she talked with me, she
rarely moved. Her hands lay
passively in her lap and she sat
pleasantly erect, scorning the in-
viting canvas chairback.

A sudden shouting from the
electricians and the snap and
hum of Kleig-
lights under heavy
voltage interrupt-
ed us. The set was
bathed in a bright
glow, the group
of men were go-
ing thru some or-
g a n i z e d move-
ment, a palpable
confusion which
yet bore to us, who
watched from be-
hind the lights, a
certain semblance
of plan. I missed
something, the
staccato barking
of the director.

"Isn't Mr. de
Mille wonder-
ful?" breathed
Lois. "He is that
way always. A
pipe in his mouth,
an old, battered
hat, and never a
word above his
usual tone of
voice !"

Admiration was
frank in her
words and eyes.
There is a puz-
zling ingenuous-
ness about her.
Her moods seem
to play over the
surface and yet
there is always
that belying effect
of calmness, like
a breeze that
passes and leaves
a sea unruffled, if

Photograph by Melbourne Studios, L. A.

"It was in 'The Dumb
Girl of Portici.' Anna
Pavlowa's picture, that
I had my first taste of
pictures," said Lois.
"I was a Chicago girl
then, with footlight
fever and prejudiced
parents. When I vis-
ited a studio and was
offered a part on ac-
count of my luxuriant
hair, I accepted, and
have been in pictures

your imagination
can encompass
that.

Of course,
Calif ornia was
the natural se-
quel to her work
in Chicago. The
Pavlowa picture
completed, she
came West with
ever since Mrs. Smalley

and joined the
Universal forces.
That was five years ago. Lois is some-
thing of a veteran, yet I doubt that she
is more than twenty-one.

She is the ideal type, I think, for
Barrie's play. She is sensitive to his
delightful whimsicality, an ardent
reader of all his fantasies since earliest
girlhood. She is one of the few favored
mortals who can take herself seriously
and not be a bore. Her enthusiasms
are more enduring because they are re-
pressed. Barrie, W. C. de Mille,- her
new five-year contract with Lasky,
wherein there is a clause concerning
stardom . . . they are her whole ex-
istence. The others cannot quite un-
derstand. Why should
life be so very serious?
{Continued on page 110)
71

PAG

Photograph by
Hartsook, L. A.

a ^ym j MMBW

TOM FORM AN was
in the bath-tub when
we. arrived, but let us
hasten to add that he
doesn't usually receive his vis-
itors that way. It was our
own fault, because we were
half an hour late in keeping
our appointment, and half an
hour is a lot of time in the life
of a busy director. But, in jus-
tice to ourself, we must also
add that it wasn't our fault
that we were late, and that we
are noted for our punctuality.
The fault lies with our doctor,
who is the most popular one in
town. He kept us waiting.

However, as somebody said
a long time ago, and every,one
else has been saying ever
since, "It is an ill wind that,
blows nobody any good." And
so, while we waited for the
youngest director in captivity
(how he'll squirm when he
(TVsees this, he being extremely
V72

Trie Forman
of tke Megaphone

By
HARRIETTE UNDERHILL

impatient with Father Time, be-
cause he moves so slowly), we
were entertained by the hand-
some, stunning, humorous and
lovable Tommy Meighan, and a
tall, poiseful, blond young man
who wears tweed suits and heavy
brown Oxfords, and who sits in
an easy chair sideways and
swings his feet over the arm as
he talks.

Our meeting with Mr. For-
man had been arranged for 6:30
at his apartment in the Seymour,
and this poiseful, blond young
man seemed to be a part of the
establish-
ment. Lat-
er on, as we
talked, we
gat tiered,
that he had
written the
scenario
for "The
Quarry,"
Mr. Mei-
ghan's cur-
rent star-
(Continued
on page
122)

"There are many rea-
sons why I prefer di-
recting to acting,"
says Tom Forman.
"The public is noto-
riously fickle, and a
star does not expect
to retain his following
for more than six or
eight years, while I
expect to be directing
when I am an old
man." Left, a new
photograph, and be-
low, Mr. Forman
fences with a fair op-
ponent

Photograph by A. R. Scott
Hollywood, Calif.

Priscilla Dean

73 ■

PA6 J

Across the

Silversneet

Top, Catherine Calvert, in
"Dead Men Tell No Tales,"
is quite the most ravishing
vision shadowed on the screen
for many moons. Center,
Lionel Barrymore, in "The
Devil's Garden," in which his
art is again handicapped by
story material; and right,
Otis Skinner as. the beggar
Hadjj in Robertson - Cole's
"Kismet" stands forth as a
gem in a dull setting

ASSION" comes like a bolt from
the blue — and a few more bolts
of a similar nature will cause the
American producers to realize that
they no longer have a monopoly. Incidentally,
it will urge everyone forward, for competition
always inspires the greatest results.

The story is "DuBarry," and was and is
called by that name when exhibited abroad.
Unfortunately, those controlling the Amer-
ican rights feel that the new title, "Passion,"
has a greater appeal to their public, even tho
the popularity of "DuBarry" stands unques-
tioned. However

The story is true in its adaptation, even to
the minor points, telling as it does of the little
milliner's assistant, Marie Jeanne, who be-
comes Countess duBarry and, finally, the
famed mistress of Louis XV. Her story is
truly and vividly sketched until the outbreak
of the French Revolution when she pays the
price of her life, despite the efforts of her
girlhood sweetheart, who would save her at
any cost.

Advices from abroad herald the director
of this production as the European Grif-
fith and it may be said that he is worthy
of the comparison. In "Passion," alias
"DuBarry," he has given his public a very
fine production — placing confidence in his
story, he has gone on devoting his efforts
to the carrying out of every detail. With
Europe as his stage, he has, of course, been
able to pass on a ripe continental flavor. The
scenes have unusual depth and those of the
mobs are among the finest ever screened —
they are as mobs are, still —
surging forward, then still
once more.

Poli Negri, in the role of
"DuBarry," is fascinating
and vivid — a finished actress
who brings to the screen the
grace of the Russian Ballet
from which she comes.
People may argue over her
beauty but they will agree as
to her art and fascination.

This picture was produced
during the war and therefore,
undoubtedly under adverse
conditions. It seemed to be
static film, looking as tho it
was raining. But when the
story began to unweave,
the imperfections ceased to
worry us — in fact they
ceased to exist.

"Passion" without a sug-
gestion of the unpleasant
achieves the risque.

HARRIET AND THE PIPER —
FIRST NATIONAL

It should have been called

A££|

By
ADELE WHITELT FLETCHER

"The Piper and Harriet." Really the piper
dominated every other scene. For no reason
whatever, his misty form would float thru the
atmosphere, piping a song, and those who had
danced to his tune would emote because they
knew they must pay.

The thread of the story is taken from Kath-
leen Norris' novel. We say the thread advisedly,
because the screen story does not contain half
the material found in the book. And, incident-
ally, the fact that the production was completed
before the novel was published gives some idea
of the dearth of fiction material.

Anita Stewart plays Harriet, the secretary
at Crownlands who eventually becomes the
mistress of the estate, saving the daughter of
the house from the same man who blotted her
own youth.

Miss Stewart does not find herself in the
role of Harriet. She seems adequate, but her
work fails to stand forth as it did in "The
Yellow Typhon." Ward Crane is quite
successful in causing his audience to dis-
like him in the villain role of Royal Blon-
don, while Myrtle Stedman typifies the
butterfly wife of the story and Charles
Richman the master of Crownlands.

The material which has been omitted
in the screen version made for a far
greater plot strength in the original story.
Too, the great wealth and luxury of
Crownlands, which should dominate, is
lost. The scenes are far from attractive
and inasmuch as a great portion of the
action is laid out-of-doors it would have seemed
possible to have had the sets more in keeping
with the wealth of those
about whom the story is
written. In several in-
stances in particular,
they remind one of the
stage settings of a third-
rate stock company.

DEAD MEN TELL NO
TALES VITAGRAPH

"Dead Men Tell No
Tales" is all that the title
would indicate. It is one
of the few examples of
titles for which there is a
reason. In the begin-
ning, there are several
characters with tales to
tell, but more important
is a villain, by name
Sehor Joaquin Santos,
who does not plan that
the world shall barken to
their tales. His motto
"Dead Men Tell No
Tales" is carried out in
quite as deadly a fashion
as might be expected.
(Continued on page 124)

Top, Mr. and Mrs. Carter De
Haven in "Twin Beds," which
will undoubtedly afford an even-
ing's entertainment if you didn't
cee it on the stage, and if you
dont feel that bedroom farces,
like the circus, are always the
same; center, Pola Negri in
"Paszion," which is really the
story of "Du Barry," and which
achieves the risque without the
unpleasant; bottom. Anita Stew-
art in "Harriet and the Piper,"
a screen version of the Kathleen
Norris' novel of the same name

PA6

Owen Moore, above,

as studio manager, 13
shown posting the new
rules and regulations ;
center, Conway Tearle
adopts the carpenter
role, and bottom, the
fair Elaine Hammer-
stein becomes a guar-
dian of the huge lights

76
f\cc

L K.

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that present-day standards require

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q&M ^?^

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Chatter

HAZEL
SIMPSON
NATLOR

month

ERHAPS
the most
th ril ling
news of the
is the an-
nouncement of
Cecil B. de Mille
that his next photo-
play, which is to be
based upon Arthur
Schnitzler's play,
"The Affairs of
Anatol," is to be an all-star
production. You have seen
other all-star productions, 'tis
true — merely so-called star
productions, at times, we
must admit, but never at their
best anything so wonderful as
this of Mr. de Milk's will be.
His cast is to include Wallace
Reid, Elliott Dexter, Thomas
Meighan, Wanda Hawley, Gloria
Swanson, Agnes Ayres. All of these
players graduated to individual star-
dom under the magic touch of De Mille
— and I cannot imagine a greater treat
than to see them together.

I rather imagine that the astute De
Mille has been planning this for some
time, for, recently, when I inadvert-
ently remarked to him concerning
Gloria Swanson, 'Ah, but you'll never
find another Gloria," he said :
"That's ■ what they've always said. I'd never find another
Mary Pickford after 'The Little American,' nor another Wallace
Reid after 'Joan the Woman,' nor another Wanda Hawley after
'We Cant Have Everything' — but my pictures seem to go on
just the same !"

It is interesting to note that on the whole, the film companies
out here are generous and willing to pay for whatever they get,
when custom prohibits payment they think of some diplo-
matic gift. Take the case of the Submarine Base at San Pedro,
Cal. This is where all submarines needed for picture purposes
are secured. The boats and the crews are loaned as a matter of
courtesy: — many companies have swallowed this courtesy, hook,
line and sinker, and gone away with little more than a thank you.
Unlike these "birds of prey," the Thomas H. Ince Company
is the admiration of everyone on the Base. For Mr. Ince has
returned every courtesy the Navy has given him in every thought-
ful and charming way possible. For instance, the officers were
having a Halloween party, recently, and Mr. Ince himself 'phoned
and offered the services of his cameramen to snap pictures of
the guests and their fancy-dress costumes

The Lasky Studio always does the right thing, too. When
I was out there the other day, there were eighty sailors per-
forming in "Fatty" Arbuckle's latest, "The Dollar a Year Man."
All they had to do was stand in formation while the "Prince
of Wales" passed by. Their leader was immediately handed

Top, May Allison forsakes
the Metro studios long
enough to pose as "Queen
of the Steering Wheel" ;
center, H. B. Warner in a
family group, and bottom,
Bessie Love at the entrance
to her studios

.^^

»fE£.S u> R>

How to prevent the homeliness
that creeps upon us unaware

A SHINY, rough, coarse-textured skin; a
sallow, muddy complexion; how easily
these annoying foes of loveliness can gain a
hold! And yet how easy it is to ward them off
when you know exactly what to do. Just
applying a few simple little rules can work
such wonders with your complexion!

BY the right method of powdering you can
forever ward off shininess. Always re-
member that you should not apply the pow-
der directly to your skin. When you make
that mistake you have to keep powdering
again and again all day. You really cannot
expect the powder to stay on unless you use a
powder base. For this you need a cream that
cannot leave a trace of shine on the face.
Pond's Vanishing Cream contains no oil. It
cannot come out in an ugly shine. Before
powdering apply a bit of Pond's Vanishing
Cream; then put on the powder. In this way
you can make the powder stay on two or
three times as long; then no longer need you
keep worrying about your face becoming shiny.

COLD weather whips the natural mois-
ture out of the skin, leaves it dry and
harsh. By giving your skin additional mois-

Before you go out, pro-
tect your complexion
from cold, wind and
dust this way

The dust specks tk at work
deep into the shin viust
bt removed each nigkt
with an entirely different
cream — a cream contain-
ing oil.

ture to make up for this, by protecting it be-
fore going out, you can prevent the roughen-
ing and coarsening caused by cold, wind and
dust. For this protection, as for a powder base,
you need a greaseless cream. Pond's Vanish-
ing Cream has just the ingredients which keep
the skin soft, supple and prevent chapping.
Always protect your skin before going out by
applying a bit of this softening cream.

AT the end of the day your pores are
choked with tiny particles of dust that
work in too deep to be removed by ordinary
washing. These tend to make your skin look
muddy. At night before retiring your skin
needs a deep cleansing with an entirely dif-
ferent cream from the greaseless one you use
in the daytime, a cream with an oil base, which
will work well into the pores. Pond's Cold
Cream has just the amount of oil to cleanse
the skin and clear up clogged pores. Every
night and after a motor trip, give the skin a
deep cleansing with Pond's Cold Cream. In
this way it will become clearer, fairer.

Neither of these creams will foster the
growth of hair on the face. Get ajar or tube
of each of these creams at any drug or depart-
ment store today. Remember, every normal
skin needs both these creams.

Free sample tubes— MAIL THIS COUPON

PON D'S

Cold Cream &
^Vanishing Cream

One with an oil base and one without any oil

POND'S EXTRACT CO., 116-R Hudson St., New York
Please send me, free, the items checked:

A free sample of Pond's Vanishing Cream

A free sample of Pond's Cold Cream

Instead of the free samples, I desire the larger samples
checked below, for which I enclose the required amount:

A 5c sample of Pond's Vanishing Cream
A 5c sample of Pond's Cold Cream

Name

Street

City State

Above, Myrtle Stedman invests some of
her earnings in a new car; right, Allan
Dwan improves each shining moment
"between scenes," and below, Bird Mill-
man, the famed circus queen of Barnum
& Bailey's makes her cinema debut

four hundred dollars to dis-
tribute among the men — five
dollars a piece for five minutes'
work. All the "gobs" were
pleased as punch.

Among the new arrivals in
Hollywood is Ruth Margaret
Nagle. This young miss was
born on the first Friday in
November to Mrs. Conrad
Nagle, the very charming wife
of Conrad, who is at present
playing in William de Mille's
production of "What Every
Woman Knows." The baby
was christened Ruth after
Mrs. Nagle, and Margaret
after Margaret Ettinger, her
best friend.

Elinor
Glyn, she of
the fiery locks
and equally
fiery love sto-
ries, is also a
new resident
in Hollywood.
She is here
primarily to
write a pic-
ture play for
Gloria Swan-
son, but is
also studying
American
men for her
next novel.
Mrs. Glyn's
slogan is: "I
stand for the
truth and I
always tell
the truth" —
mainly about
love. Mrs. Glyn is small and well-groomed and you
never would believe that she has two daughters, both
over twenty.

And speaking of love, Gladys George, that pretty
and talented leading lady, is going to be married soon.
Her fiance is Robert Russell, a young business man
of Los Angeles. Miss George first attracted atten-
tion in Los Angeles last year in "The Better 'Ole,"
with De Wolf Hopper. She was so pretty that she
was grabbed off at once by picture folk. She ap-
peared in several Ince productions and had lately
signed with Lasky.

Anita Stewart has returned from a trip to New
York. She brought out with her a very large box
of hats which she lost from the back of the auto-
mobile. They were new, had never been worn, and
if anybody found them they will do well to return
to the owner, because Miss Stewart says she needs
them in her business.

W. J. Arbuckle, father of the famous Roscoe
(Fatty) Arbuckle, died at his Los Angeles home the
last of October. We extend our sincere sympathy
to his son.

The Oliver Morosco Company is to build a new
theater and office building in Los Angeles. The seat-
ing capacity of the theater is to be about 1,600, and
it will be operated in connection with the pictures
produced by the Morosco Productions, Inc. The first
{Continued on page 120)

F,0

1A££

k K_

■n

fMSSSS'T)

Trade Mark Rcoisicrci

Free Trial

£fEND now for the New Wurlitzer catalog
ij and free trial blank. You may have any
^"^ musical instrument known, with a complete
musical outfit, for a week's trial at home. Return
the instrument at our expense at the end of the
week if you decide not to keep it.

You will get a complete musical outfit, including the instru-
ment and all accessories — velvet and plush lined carry-
ing case with lock and key, self instructor,? instruction
aids, book of music, all attachments and extra parts — every-
thing you need. This new Wurlitzer plan effects a tremen-
dous saving for you if you decide to buy, as everything goes
in at factory cost. Wurlitzer supplies the outfit and instru-
ment practically for the cost of the instrument alone.

Convenient Monthly Payments

A few cents a day will pay for your
instrument and outfit.

A«+i«+S^ 0.,oT!«-«7 of Wurlitzer instruments is known
AttlStlC V^uailty a n over the world. Wurlitzer
instruments have been the favorites of artists and have
been used in the finest orchestras and bands for years.
This outfit offer includes genuine Wurlitzer instruments.

Every known stringed instrument or wind instrument
included in this offer of free trial inyourown home. Have
your free trial now. We do not cltarge you a penny for it.

Send for New Catalog
and Free Trial Blank

Every instrument known illustrated and described, with
price and small payment terms. More pictures and more
information about musical instruments than in any other
book published. It is a veritable musical encyclopedia.
Free trial blank comes with it. Catalog is FREE. There
is no obligation. Write for it today.

The Rudolph Wurlitzer Co. Dept.1522

1 17 E. 4th Street, Cincinnati, O.
329 S. Wabash Ave., Chicago, 111.

The Rudolph Wurlitzer Co., Dept.1522

117 E. 4th St., Cincinnati, O. 329 S. Wabash Ave.. Chicago, 111

Send me your new catalog with illustrations in color and full
description of the Wurlitzer Complete Outfits and details of the
free trial and easy payment offer.

200 YEARS OF

^^a^n^E Wfc ^

(State musical inttrument in which votv are specially inttretted) %

MSTRUMENT MAKING ▼! „._-- 1

P«6ll

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I Greenroom Jottings

*IOMIIIIIIIIOIIIIIIII[IOIIIHIIIIII[]IIIIIIIIIMUIIIIIIIIIII^

Marguerite Clark, who recently married and retired from the
screen, returns to it in the film version of "Scrambled Wives."
The only certain thing about a woman is her uncertainty.

Mildred Harris Chaplin has been granted a divorce from Charlie
Chaplin, whereby she receives a settlement of $200,000 and agrees
not to use the name of Chaplin professionally. For every evil
under the sun there is a remedy.

Ralph Barry Harolde, the youngest leading man on the screen,
is playing opposite Margaret Beecher in "Sunshine Harbor," a
new Hemmer picture. The continuity of this picture was written
by Gladys Hall.

Polly Moran' is seen as the landlady in the new Hallroom Boys'
Comedies, released by the C. B. C. Film Corporation.

Ted Dickson is one of the screen's newest finds.- Six months ago
he was an extra, then after a director ■ saw him in a small part
with Mary Miles Minter in "Sweet Lavender," he was given a two-
year contract as leading man of the Van Curen Company, making
five-reel westerns. Ted
is one of those who are
ready when they are
called.

Teddy, the well-
known Great Dane of
half-a-hundred Mack
Sennett comedies, has
signed a new contract.
He has joined the ranks
of stars of Special Pic-
tures Corporation, and
is to be featured in two-
reel comedies.

Creighton Hale has
been engaged by Amer-
ican Cinema Corpora-
tion to play opposite
Mollie King, one of the
company's stars, in "Her
Maj esty."

Dorothea Wolbert,
who scored the success
of her career with
Lyons and Moran in
"La, La, Lucille," is
being featured by Uni-
versal in a series of
short-reel comedies.

Seeking "locations" via aeroplane is the latest stunt in filmland. Marshall Neilan flys

with Emery Johnston, aeronaut of Hollywood, and, instead of returning home every

night, they camp en route

In "Earthbound," the
scene which caused the
greatest interest per-
haps, was one in which
the Russian wolfhound

saw his dead master's spirit and recognized him by sniffing, cocking
his ears and wagging his tail. This effect was obtained by having a
goat behind a screen, and when the dog caught the unmistakable
goat scent, he evinced the signs of eager interest which seemed
to be caused by his master's spook.

Frank Mayo, who has been working on. a story called "Tiger,"
by Max Brandt, wishes it understood that the story has nothing
to do with politics and that the tiger is not of the Tammany variety.

Henry Walthall is touring the Southern States with his own
company, presenting a play called "Ghosts." He is accompanied
by his wife, Mary Charleson.

"Blind Wives," is an adaptation of "My Lady's Dress." The
leading roles are played by Estelle Taylor, Harry Sothern and
Marc MacDermott. .

"The Virgin of Paris," is a six-reel picture adapted by Agnes
Fletcher Bain from the novel "Sophia," by Anthony Hope. It was
directed by Gerald Fontaine.

A6£

An reroplane trip around the world for the purpose of taking
pictures from the clouds of scenics of the principal cities is being
made by Captain L. T. Tibbs, formerly of the British Air Service,
now a captain in the aviation division of the New York Police
Department.

"Black Beauty," a Vitagraph Special production is receiving
unusually elaborate attention in the filming. It is being directed
by David Smith, who is surrounded by a large technical staff. The
whole civilized world, by reason of its familiarity with this classic,
will sit-in judgment on the artistic naturalness of the production,
and art is as natural as nature.

Wallace Reid is engaged upon a picture adapted from "The
Daughter of a Magnate," by Frank Spearman. Margaret Loomis
is leading woman.

Conrad Nagel and Lois Wilson have the leads in the William
deMille production, "What Every Woman Knows."

Robert Edeson takes an important role in "Are Wives to Blame?"

May Allison's new
starring picture. The
play is proof that men
are more easily made
rich by diminishing
their desires than by
adding to their riches.

"The Half Breed" is
the first picture of the
Oliver Morosco Pro-
ductions, Inc., and was
directed by Oliver Mo-
rosco himself.

News of the marriage
of Harry Carey and
Olive Golden has leaked
out in filmland. Mrs.
Carey is the daughter
of George Fuller Gol-
den, a famous actor and
one of the organizers of
"The White Rats," a
national actors' associa-
tion.

When Cupid hits the
mark, he usually Mrs. it.

Fox News has ar-
rangements with the
Bronx Zoo whereby
animal studies will be
presented with each
issue of the News Reel.
Recently it was proved
that animals, as well as
humans, enjoy sweet perfumes. Bits of paper soaked in lavender
were thrown into the cages of a lion and jaguar, causing them to
roll and play like kittens.

A new company has been organized under the name of the
Blanche McGarity Productions. The capital stock is $500,000.
They have made negotiations for the Texas States rights for
"Love's Redemption."

Word has been received from Charlie Chaplin stating that the
rumors concerning his retirement from the screen are grossly un-
true and that he is already at work on his new picture.

Alice Lake did such splendid work in her newest special produc-
tion, "Body and Soul," that she has been promoted to a full-fledged
Metro star.

Louise Fazenda has left the Mack Sennett company to accept a
starring contract with Special Pictures, Inc. There's not the least
difficulty in doing a thing if you only know how to do it, and we'll
say Louise knows how to be a star.

ATeM ™

OO YourChoice

SEND only $1.00 with the coupon
for either one of these splendid
bargains. Don't be too late. Sup-
ply limited. Send the coupon now.

-*VkGAZIN£.

Lined
With
Fancy
Shirred
Silk
Geor-
gette
Crepe

Write for our latest free
Monthly Bulletin of men's,
women's and children's
clothing and shoes. Every'
thing on small monthly
payments.

All-Wool

Serge Dress

Richly Embroidered

This smart model is
made of fine grade pure
all-wool serge. Design
is stylish straight line
effect gathered at
waistline with a rich handsome silk
cord girdle. Dress is richly embroid-
ered front and in charming design.
Back is trimmed with a row of buttons.
Color, Navy Blue only. Sizes 34 to 44,
Misses 16 to 20. Be sure to give Bust,
Belt, Hip and Length measurements.
Order by No. F-32. Send $1.00 with
Coupon. Terms $2.85 Monthly!
Total Price $17.95.

6 Months to Pay

Learn to buy the Elmer Richards way as thousands
are doing. Dress well and pay in small monthly sums.
Anything in clothing and shoes for men, women and
children. No charge for credit. Only one price.

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approval. See it yourself. If you don't keep it you are
not out a penny. Send the coupon with a $1.00 P. 0.
order, or a dollar bill. Mail coupon now.

Elmer Richards Co.

Dept. 1 522, West 35th Street, Chicago, 111.

.ttMMMiMiniiiniMiHMMiHMiiiiiiiiriiiiiiiiMiiMii mum until in (ill (mini mint it in

| Elmer Richards Co.

Dept. 1522 West 35th Street, Chicago, 111.

I enclose $1.00. Send me the bargain I check below. If I am
not perfectly satisfied I can return it and get my payment
s back. If I keep it I will send *he monthly terms until full
5 price is paid.

Special Wolf Lynx Silk-Lined Fur Scarf, No. F-39. D
Color: Black D Brown D (Check color wanted)
i Terms: $1.00 with coupon, $3.20 monthly. Total price $19.95.
i Fine All- Wool Serge Dress No. F-32. O

1 Bust Belt Hip Length

; Terms: $1.00 with coupon, $2.85 monthly. Total price $17.95.

Name.

Address ,

State.

S3 P

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appeared as leading woman opposite

Virginia Valli recently completed her work with Hope Hampton
in "The Better Way," and now takes a prominent role in the first
Mae Murray, picture to be directed by Robert Leonard.

James Rennie takes the leading male role in "The Sin That
Was His."

Vera Gordon, creator of the mother in "Humoresque," has in-
vaded the vaudeville field as the star in "Lullaby," a sketch written
expressly for her by Edgar Allen Wolff.

Will Rogers is starred in Irvin S. Cobb's "Boys Will Be Boys,"
which is screened for the Goldwyn company.

Edith Roberts, having completed her current production, "White
Youth," now appears in a story of South America, called "Hidden
Fires," written by Norman Dawn, her director, himself a South
American.

Thelrna Percy, sister of Eileen, was quietly married on October
27 to W. A. Brady, Jr., son of the famous New York theater
owner and producer.

Dorothy Devore, who
Charles. Ray in "Forty
Five Minutes from
Broadway," will be
featured hereafter in
two-reel Christie come-
dies. Dorothy is one of
those to whom nature
has given the secret of
making labor a joy.

Fourteen of the latest
model of motion picture
machines were used in
producing "The Race of
the Age," Educational's
exclusive record of the
victory of Man o' War.
In the movie world,
economy is the thief of
time.

Annette Kellermann
returns to vaudeville
thru an Educational
single-reel picture, "The
Art of Diving," in
which she demonstrates
her art before the mo-
tion picture camera and
then by the slow pro-
cess. She is one of the
proofs that nature meant
to make woman its
masterpiece.

T. Hays Hunter, who recently

fi*

'You'll be Surprised,"
is announced as the title

of a two-reel Chester comedy. It is based on a series of astonishing
stunts by Snooky, the Humanzee, and little Ida May McKenzie.

Carmel Myers will appear as a Parisian dancer and the toast of
the boulevards in "The White Peacock Feather."

Raye Dean will play the leading feminine role in "A Message
from Mars," a production starring Bert Lytell. She- portrays
the role of an English society girl.

Thru his portrayal of brutal Hun parts during the war, Stroheim
gained the name of "the most hated man in motion pictures."
Nevertheless, his friends say he is one of the gentlest of men
off the screen.

Erich Von Stroheim, Universal dircctor-author-actor, apparently
yearned for practical experience. He has just married Valerie
Germonprez, an actress. The romance started when she had the
r\ role of the bride in Strohcim's first picture, "Blind Husbands."

Afi£

Martha Mansfield is to be leading woman in the new Selznick
picture in which Conway Tearle has the stellar role.

Percy Marmont, who made his screen debut in Elsie Ferguson's
first picture three years ago, and has appeared opposite almost all
the brightest stars, has signed with Famous Players to create the
leading role in a director's special production.

The production of "The Old Swimin' Hole" is being placed in
the exact period when Riley wrote it, and even the sycamore tree
will be there. The picture is being made by Charles Ray in his
Hollywood studio and directed by Joseph DeGrasse.

Mary Pickford's new picture, "Rag Tag and Bob Tail," was
written and is being directed by Frances Marion. Douglas Fair-
bank's new picture was written by himself and is being directed
by Ted Reed.

Rockcliffe Fellowes has been engaged to play opposite Ethel
Clayton in her new picture, "The Price of Possession."

Betty Francisco, a recent arrival on the screen, who has appeared
previously in the Zeigfield "Follies," heads the cast of "Partners ot
the Tide." Incidentally, she is said to be one of the most beautiful

girls ever seen, even
among the ranks of
world famed beauties.

Francis Bushman.
Beverly Bayne and
Anne Little are mem-
bers of the cast with
William Desmond in
Oliver Morosco's first
film production.

Elsie Ferguson who
has been touring the
world for the last six
months has returned to
America and resumed
her motion picture work
for Famous Players.
"Sacred and Profane
Love," is Miss Fergu-
son's first screen vehicle
since resuming work.

"The Vendetta" is
the title of the screen
adaptation of "The
Net," by Rex Beach.
The action takes place
in Sicily and New Or-
leans and is based on an
actual mafia of some
thirty years ago.

Catherine Calvert

takes the leading role in

the new Vitagraph super

production, "The Heart of Maryland." Incidentally, Miss Calvert

is from Baltimore, and in the picture takes the part of a Calvert

of Baltimore. Crane Wilbur plays opposite Miss Calvert.

Jimmie Harrison, well known thru musical comedy and Christie
comedies, supports Charlotte Merriarn in "Twelve P. M.," her
latest Comic Classic production.

"Daughter of the Dawn," depicts the life of the Red Man. The
entire cast is composed of Indians and the manners and customs
are authentic and historic. It will prove valuable for schools.

"The Island of the Mist," is a Pictograph production, showing
the curious cosmopolitan life of- Hong Kong, China, the Paris
of the Orient. Interspersed in the picture are scenes of the English
settlement and the Chinese quarters.

Pete Morrison and Carol Holloway are featured in "A Good
I3nd Man," a six-reel Western of Yellowstone Productions, Inc.

;ave "Earthbound" to the screen, at his California home
with his wife and son

<^&w»h

NOTICE

Be careful in buying- alumi-
numware. Some sets offered
for sale are made of cheap,
soft aluminum which bends
easily, dents with every fall
or knock and is not durable.
Insist upon genuine, heavy
g-auge. hard, sheet alumi-
num. Setoff ered here Is made
of genuine Manganese alu-
tinum, heavy and extra hard
guaranteed for 20 years.

Everything in the Kitchen of Pure Aluminum

Combination tea kettle and double boiler (3 pieces), 6 quart size,
8 inches inside, with a doable boiler, 2 quart capacity; one Colo-
nial design coffee percolator (2 pieces), 6 cup size with welded
epout, dome cover, fully polished; 1 roaster consisting of 9 pieces,
measures 10H inches wide and 6 inches high. These 9 pieces have
dozens of different uses, including bread or bake pan (7 pint ca-
pacity); stew or pudding pan (7 pint capacity); pudding pan or
mixing bowl (4 pint capacity); egg poacher (5 eggs at a time);
muffin pan; biscuit baker with 5 custard cups or jelly moulds; deep
locking self basting roaster, double boiler cereal cooker or triple
steamer. The outfit also includes 6 quart preserving kettle with
cover, 2 bread pans, 1 lip stew pan <1 quart capacity), 1 lip stew
pan (114 quart capacity). Combination cake and pudding pans
(2 pieces), consist of 2-quart pudding pan with cake tube; 2 9-inch
pie plates; 2 9K-inch extra deep cake pans; 1 colander with 9-inch
top, 5X-inch bottom, and 234-inch depth (can also be used as a
steamer). Shipping weight about 15 pounds.

All pieces (except the pie plates and bread pans) are highly
polished, made of genuine Manganese aluminum, extra
hard* absolutely guaranteed for 20 years.

Order by No. A5439JA. Send Sl.oo with order*
$2.25 monthly. Price, 27 pieces* $21.90,

Easy Payments

Open a charge account with us. We trust honest

people anywhere in the U. S. Send for this wonderful
bargain or choose from our big catalog. One price to all,
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for credit— No C. O. D. Send the coupon today —NOW.

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within 30 days and get your
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or express charges you paid.

sands of bargains in furniture,
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Straus &Schram wifii&'&w

STRAUS & SCHRAM w De 3 P 5 t!1f*? et Chicago

Enclosed 9nd SI .00. Ship special advertised 27-piece Aluminum Kitchen
Set. I am to have 30 days trial. If I keep the set I will pay you $2.25
monthly. If not satisfied. I am to return the set ■within 30 days and you
are to refund my money and any freight or express charges 1 paid.

D 27-Piecs Aluminum Kitchen Set, No. AS439JA. $21.90.

Name

Street. R. F. D.

or Box No

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Point

Post Office «, State

If you ONLY want catalog put X below :
£ Furniture. Stoves and Jewelry G Men's, Women's and Children'* CIotHvn*

85 P

PA fill

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This department is for information of general interest only. Those who desire
answers by mail, or a list of the film manufacturers, with addresses, must enclose
a stamped addressed envelope. Address all inquiries to The Answer Man, using
separate sheets for matters intended for other departments of this magazine. Each
inquiry must contain the correct name and address of the inquirer at the end of
the letter, which will not be printed. At the top of the letter write the name you
wish to appear. Those desiring immediate replies or information requiring research,
should enclose additional stamp or other small fee; otherwise all inquiries must
await their turn. Read all answers and file them — this is the only movie encyclo-
paedia in existence. If the answer is to appear in the Classic, write "Classic" at
top of letter.

S*L

Hajyfcy < 3\[ew Year to you all. Father Time has
had another hirthday ana he promises to make 1921
a much more firosfierous year than we have ever
had, and here' s homing it will he a very hafafcy one
for us all. 1

Allison B. — I'm listening! Billie Burke in "The
Education of Elizabeth," which was taken at the new
Lasky Studio in Astoria, L. I. Alice Brady in "Out of
the Chorus," with Vernon Steel.

Antonio D. — Vivian Martin's next picture is "The
Old World Romance." Crane Wilbur is coming back
in pictures, playing opposite Catherine Calvert in "The
Heart of Maryland," Mrs. Leslie Carter's famous play.
It was done in pictures years ago, but it was not a
masterpiece.

G. K. — So you are a devoted lover of Madame Pet-
rova. She is in vaudeville now, and we hope to see her
in pictures again. Well, a person who is not affected
by tears on the screen may be a hard-hearted rascal,
but as Plublius Syrus said, "Tears gratify a savage
nature, they do not melt it."

Swef.t Sixteen. — No child, I am not young and
handsome. That's an exact likeness of me up above.
•No, I dont read the Ladies' Hum Journal nor the Sat-
urday Evening Postum. Yes, Blanche Sweet went to
Europe for three months. Edward Earle, yes, opposite
Doraldina. You must write to me again.

Anna H. — Pardon the delay, but I just came in on
the Erie. Your definition of the Answer Man is worthy
of a greater intellect than yours : "An old man who has
no hair on his head, and no brains in it." The reason
I have hair on my chin and none on my pate — is because
I have worked my head more than I have worked my
jaw. Viola Dana and Jack Mulhall in "The Off- Shore
Pirate."

N. C. Apples & Ga. Peaches. — You have mastered
the art of letter writing. Tom Moore is playing in
"Mr. Barnes of New York." Remember when Maurice
Costello played it about five years ago? Roy Stewart
opposite Pauline Frederick in "The Mistress of Shen-
stone."

Jackie. — You want to know all about Alfred Whit-
man. He was born in Chicago in 1890. He is 6 foot
one, weighs 195 and has dark brown hair and eyes.
Elaine Hammerstein in "Hands."

Ryfi. — Write me any time, Ryfi. I like to hear from
all of our readers — particularly you.

Kay. — Oh, I seldom get tired. In which respect I
am something like an auto tire — the more I go the less
tired I get. Get off here, this is private property.
Selig produced "The Spoilers" years ago, but Elsie
Ferguson did not play in it. "The Outcast," played for
a season on the star . in New York.

Jazzsmith. — Thanks for the warning, but I always
suspected that my charms were such as to cause thou-
sands of women to be after me. The heartstrings of a

woman, like the tendrils of a vine, are always reaching
out for something to cling to, but I do not intend to let
them fasten on to me. Will Rogers in "Boys will be
Boys."

Marguerite S. — So you dont think I am as sarcastic
as I used to be. No, I dont think so either. I am now
a hardened sinner and always count ten before I write
anything tart. Vera Gordon, the mother in "Humo-
resque," will play in "The North Wind's Malice."

Mixie Oui. — Oui Oui, what do you mean? No, I am
not a woman. You are quite correct, but while it was
woman who first tempted man to eat, remember that he
took to drink on his own account afterwards. Bebe
Daniels in "Ducks and Drakes," with Jack Holt.

Toothpicks. — Well, we were the first publication to
adopt a gallery of players, also to write chats and in-
terviews with them. In fact, we were the first magazine
devoted to motion pictures. I was in Mr. Brewster's
office the day he said he was going to edit this magazine
also. And we are still growing.

Eighteen. — Well, I just dont like your modus oper-
andi, but I will tell you that you can reach Wallace
MacDonald in Los Angeles, Cal. Oh, I dont mind
Chinese food once in a while. Pretty soon that will be
the only kind of food we can get. There are more than
200 restaurants in Greater New York now owned by
Chinese.

R. R. — You want more of Montague Love. What do
you want me to say? Willard Mack was married to
Marjorie Rambeau, then to Pauline Frederick, and now
to Barbara Castleton. Mind you, he did not have more
than one at a time. That would be polygamy. Where
there is only one wife, at a time, it is called monotony.
Yes, Gouverncur Morris' "The Watel Lily" is being
done in pictures. Leatrice Joy has the lead.

Nonnette. — Thanks for your jolly letter. Well, if
a man is the lord of creation, woman is the lady of re-
creation. You say the "parrot may get into the best
society circles, but the owl always is mentioned in Hoo's
Hoo!" Wonderful.

A Texas Fan. — Wallace Reid has been working in
"The Daughter of the Magnate." Teddy Sampson is
playing opposite Owen Moore in "Lend Me Your Wife."
William Desmond is playing in "The Half Breed," for
Morosco. Write me again and make me happy.

Herminie. — Well, it is harder to correct than to
instruct. I give it up. You refer to William Boyd as
Mr. Carpentier in "The City of Masks." Edmund Lowe
opposite Katherine MacDonald in "The Second Latch-
key." Hope Hampton is not playing just now, but has
just finished a drama which they say is going to be a
winner.

Dallas. — Never heard of her. Maude George is
playing in "Foolish Wives." I got you the first time.
There are glances that have more wit than the most
subtle speech. You like to tease your old Answer Alan,
dont you? Anyway, I take it all in fun.

Michael G. — 'Tis a grand compliment you pay me.
To wit — "It is said in the lore of many a page, that
sages were and arc men of superficial knowledge. Yet

.AG£

W1°E21§£™

mar

uaTJc?r

HISTORY REPEATS ITSELF!

even more tar-reaching in its powei

tune Contest of 1921

'Fortune Contest which has been conducted

re Magazine, The Classic and Shadow-

e Brewster Publications that another contest,

buld be started immediately for the year 1921.

The Golden Key of Opportunity Is in Your Hands —
Turn the Key in the Doorway of Success

and thru the portal of the Fame and Fortune Contest you may enter the kingdom
of the screen.

Photographs May Be Entered at Once

and the first honor roll winners will appear in the January issues of each of our pub-
lications.

Send in Your Photograph Early

We know that you get tired of reading this notice, but if you could have seen the ava-
lanche of pictures which flooded the offices at the last moment, and could realize that
there must ensue tremendous confusion, unnecessary work and an inevitable delay in
the announcement of the final winners, you would appreciate the value of this warn-
ing. Those who have failed in previous contests are eligible to enter the next contest.

Fill Out the Coupon Below at Once
FAME AND FORTUNE CONTEST

■tie

•magazine entrance coupon-

Name

Address Street

City State

Previous stage or screen experience in detail, if any....

When born Blonde or brunette

Weight Height

(This coupon, or a similar one of your own making, must be secured to the back of each photo submitted.)

Pa6ll

C3fk Z&fzsw&i" 'ybTotti

to my mind, royal answer man, you are one yourself.
Your rivals are as rare as hen's teeth in a vale of mars."
My humble thanks. You refer to Francis McDonald,
in "Tony American." Yes, I am honest to goodness
80 years old.

Billie Jean. — What kind of shampoo do I use — let
me see, yokes of eggs, and sometimes spaghetti. In the
summertime, corn on the cob and watermelon. Yes,
William Scott in "The White Lie." Your letter was a
good one. Write me again.

Doreen G. — No, little one, I haven't time to write
personal letters. 1 write all these inquiries on a type-
writer, and that is quite enough writing to do. Why
dont you join one of the clubs? Wallace MacDonald
is in Los Angeles, Cal.

Francis J. K. — I will be glad to see you any time.

Obligee. — Well, I will try to answer you. Artcraft
have been in existence for about five years. Mary
Pickford used to be with them. They were always a
part of Paramount. The starring system went into
effect many years ago, but ncbody can tell just when.
I really haven't the name of the first featured player,
but you remember Maurice Costello, Florence Laurence,
Florence Turner and Mary Fuller.

Ampa. — Of course, I love you. The woman we love
most is often the one to whom we express it the least.
Yes, Bryant Washburn is very busy. He is playing in
"An Amateur Devil," taken from the story "Wanted, a
Blemish." I rather like the styles these days. Food is
going down while dresses are going up. We never had
an interview with James Crane.

Lowell. — I'll do my best. As Balzac says, "Marriage
has its unknown great men, as war has its Napoleons,
poetry its Cheniers, and philosophy its Descartes."
Johnny Hines appeared in person at a theater I attended,
and told us all sorts of jokes. He's some boy. Yes. I
saw "Harriet and the Piper," but it was not so good
as the book. Anita Stewart was not so good as usual.

Jamaica. — Tell her for me that Gaston Glass is her
unknown hero. Milton Sills is not married.

G. T. R. — Thanks for the bit of news.

Dot 18. — Dot, dot, dot— dash, dash, dash — you be-
wilder me with such praise. — "Just finished reading your
masterpiece and I'll have to hand it to you, you're
clever in spite of old age'. Together with being my
priceless counselor, ministering angel, and faithful
friend all combined, you are my guiding star." My
little Dot, you are so very kind to me. To be loved is
to receive the greatest of all compliments. I thank you.

Shimmev. — How do you do! As long as the heart
preserves desire, the mind perserveres in illusion. So,
just keep on wondering. Roscoe Arbuckle is playing in
"The Life of the Party," which is a screen version of
Irvin Cobb's Saturday Evening Post story. Ethel Grey
Terry in "Heart Balm."

Solomondi. — Pleastermeetyer. You might refer to
Carlyle Blackwell, but I am not sure. Oh, Flossie C. P.
deserted me years ago, and Olga is married somewhere
in New York.

Billie B. — Thanks for the fee. Frederick Burton
had the lead in "The Fortune Teller," with Marjorie
Rambeau. "Lying Lips" is the latest Ince special and it
co-stars House Peters and Florence Vidor.

S. D. — You gave no address.

Dadedeer's Girl. — What would life be without a
letter from you every month ? Are you comparing my
beard to the horse Lavender in Mary Pickford's "Suds" ?
What, my beard a horse's tail ? I might consent to let
you curl it, but be careful what you call it. Much
obliged for your praise. I dont deserve it, but now that
I have it, I will make believe that I do.

Vyrgynya. — Some questions ! "What would 'liking'
raised to the TVth degree be called?" "What is the
square root of Love?" Put on your brakes, Vyrgynya,
you're skidding. There ain't no such degree, and I dont
know anything about love.

D. R. — You certainly are a very interesting
person. I enjoyed every word of yours, and
thanks a lot for the pictures. Pretty nice, I'll say.
Anxious. — I haven't Roland F. Bottomley's
present address. Sorry.

A New Comer; E. C; Norma or Ethel; V. M.
Phila; C. F. ; Anxious; Ima Nut; O. I. C. ; A. McC. ;
Buddie; Mr. U. B. Careful; Dick's Admirer. See
.„. f ',bf,)y,Ugr& JQX gSHk^liKSSS.- Ml c] Q.m: f &. me agaim

ist of the film manufacturers, with addresses, must enclose
lvelope. Address all inquiries to The Answer Man, using
ters intended for other departments of this magazine. Each
le correct name and address of the inquirer at the end of
ot be printed. At the top of the letter write the name you
rlesiring immediate replies or information requiring research,
al stamp or other small fee; otherwise all inquiries must

all answers and file them — this is the only movie encyclo-
the answer is to appear in the Classic, write "Classic" at

Richard Forever. — William Duncan and Edith John-
son in "Fighting Fate." You could not have a much
higher ambition. Live, so that when you die, they will
say that the world is a little better for your having
lived in it.

Harry the Poet. — And you dont know it. You

want to know, "Did anyone ever slap Wally Reid on

• the wrist? and did Theda Bara ever use make-up?"

You win first prize for asking the most profound

questions.

Unknown. — Thanks for the fee. Grace Morse was
Elsie.

Z. Z. Z. — Really, I dont know where you can purchase
a picture of Harold Lockwood. We had an interview
with William Duncan in the January 1919 Magazine.

Agnes S. — Health is never valued until the doctor
sends in his bill. There is no list of the stars' addresses.
Buck Jones is not married. Eugene O'Brien in "Regret."
He is not married. Shirley Mason is married to Ber-
nard Durning. Viola Dana was married to John Collins
but 1 he died in the influenza epidemic about three years
ago. No, the three Talmadges never played in the same
picture, to my knowledge. I believe Corliss Palmer
has been adjudged the most beautiful girl in America.

Dotell. — Yes, do. Well, there ought to be in Cali-
fornia. I know of lots in New York. Yes, Katherine
MacDonald and Mary MacLaren are sisters. Someone
has said that Katherine McDonald was the most beau-
iful woman on the screen, but that was before Corliss
Palmer was heard of.

Lookout Mountain. — What could be sweeter? Right
you be, altho I do not know much about such things.
Woman's eternal prayer seems to be "Love me and tell
me so sometimes." If I had a sweetheart, I would
never get tired telling her how much I loved her, and
I dont think she would get tired hearing it. I am not
sure whether it is the same Griffith.

Hazel C. — Well, Aristophanes is supposed to be the
father of comedy, and Aeschylus of tragic poetry. You
just write to Monte Blue and I am sure he will answer
you. I hope your throat operation is all over by the
time you read this, and then you will be able to smile
and laugh and be happy. Good luck to you.

McKay Morris.— You are referred to the February
1920 issue of Shadowland, which contains an interview
with McKay Morris. Lots of good things are well
preserved in alcohol, but not men. I regret to say that
the player you mention is trying to preserve himself
in that manner.

Kitty Kat. — Oh, I hope you aren't one. Thanks for
the gum. No, indeed, I never get tired answering
questions nor of chewing gum. Yes, I adore all the
players you do, only I dont adore them. Well, you
know what the saving" is — A mother's a mother all the
days of her life; a father's a father until he gets a
new wife. You cant battle against fate.

Pauline Curley Admirer. — You think we ought to
have more about Pauline Curley in our magazines. We
should.

Arthur L. Z. — You think the actors get pretty good
pay and you would like to be one. Well Arthur, what's

stopping you?

(Continued on page 112)

-^fe^Ste

CeM OT ^!£ UR P)

1 *

I "I

(pPK!£ u t

If a Price Tag

came on breakfasts

Were breakfast dishes marked with prices you would see this at a
glance: Quaker Oats costs one cent per large dish.

A chop costs 12 cents— two eggs cost 9 cents. One serving of bacon
and eggs costs as much as 15 of Quaker Oats.

A meat, egg or fish breakfast, on the average, costs ten times Quaker
Oats.

Then figure bycalories — the energymeasureof food value.
Quaker Oats nutrition costs 6J/2 cents per 1,000 calories.
Meat, eggs and fish will average about nine times that.

Consider how that difference mounts up. It means 35
cents per breakfast in a family of five.

The One-Cent Dish

The oat is the greatest food that grows. It is almost
the ideal food in balance and completeness. As food
for growth and vim-food it has age-old , fame. Every-
body should start the day on oats. Then think what you
save when Quaker Oats is made your basic breakfast.

Calories per Pound

Quaker Oats 1810

Round Steak 890

Average Fish 375

Cost per 1,000 Calories

Quaker Oats 6y 2 c

Average Meats » 45c

Average Fish. 50c

The flavory queen grains only

Get Quaker Oats to make the dish doubly delightful. It is flaked from
queen grains only — just the rich, plump, flavory oats. We get but ten
pounds from a bushel. These super-grade oats cost no extra 'price, so
you should insist that you get them.

15 cents and 35 cents for package

Except in far west and south
Packed in sealed round packages with removable cover

Letters to trie Editor

Letters to the editor cannot be used in
this department unless the name and
address is given. If the writer desires
that only initials be used in publishing,
please specify this in letter.

Favorites, old and new, and jthe
best liked celluloid productions are
found to vary as the likes and, dis-
likes of the readers vary. But each is
an honest critic, according to his lights,
and thru the thousands of letters that
pour in one may gradually extract the
trend of popular opinion.

Dear Editor — I have read with interest
and pleasure all the discussions, criticism,
etc., in your splendid magazine and think
it's about time I gave my opinion of the
movies.

I am not very hard to please and rarely
criticize any pictures excepting William
Fox productions. These, I think, are very
suggestive, or at least the majority of them
are, and should not be patronized. The
William Farnum features, possibly, are ex-
ceptions.

I looked forward with pleasure to see-
ing "Victory" but was disappointed in it.
I have never slept during pictures before
but I dozed during the showing of "Vic-
tory" ; it was boring. I think Jack Holt
and Seena Owen are splendid, and thought
as they were starred in this picture it
would be good — but oh ! it was horrible.

My favorite actor is Casson Ferguson.
I saw him in "The Gipsy Trail" and from
then on have raved about him. Wasn't
he splendid as the joyous Irishman, Michael
Rudder! I do wish he could' have just an-
other such part. I have seen him in all
his pictures, but he has never since had
such a chance to show his ability to act,
altho in "The Shuttle" he was fine.

I disagree with some movie fans in say-
ing that "The Miracle Man" is the great-
est picture that has been produced. Bert
Lytell in "Lombardi, Ltd." and "The Right
of Way" was miles before "The Miracle
Man." I had the misfortune to miss "Male
and Female." This picture created a sen-
sation over here. Everyone who saw it
thought it was wonderful.

Mabel Normand in "Mickey" was quite
a hit. She is an actress who can act.
Hobart Bosworth in "Behind the Door"
was glorious and will be an independent
star before long, I am sure.

I think Tom Moore's masterpiece is
"Heartsease." I did enjoy that picture and
thought Tom was wonderfully human all
thru it. Vivian Martin is very popular out
here. "The Third Kiss" and "His Official
Fiancee" made her a firm favorite. Mar-
guerite Clark is very lovable and in "Come
Out of The Kitchen" and "Girls" she was
glorious. All her pictures give pleasure to
the beholders and if she leaves the screen
no one can take her place.

Connie Talmadge is charming, but I pre-
fer Dorothy Gish. "The Hope Chest" I
will always remember. Monte Blue I ad-
mire immensely and I'm sure everyone who
saw "Private Pcttigrew's Girl" and "Rust-
ling a Bride" will agree with me in saying
he is a fine actor. I think Wallie Re-id,
Bryant Washburn, Charlie Ray and Bill
Hart are great. I also admire Henry
Woodward and Rod LaRoque.

Has anyone specially mentioned the baby
Who played with William Farnum in
"Heart Strings"? Where I saw this pic-

jOTlON PICTURPv

MAGAZINE "J

ture everyone raved over the baby. I think
he stole the glory from the star. Talk
about comedy, everyone screamed with
laughter when he cried. He was a darling.

I do not care for Alia Nazimova but I
think in "An Eye for an Eye" she was fas-
cinating. I did not like "Revelation." Enid
Bennett has improved wonderfully. In
"Stepping Out" she was delightful.

In closing I would say that if any Ameri-
can girl or boy of about eighteen years
could find time to correspond with this
Australian fan, I would be awfully pleased
to receive letters.

Wishing your magazine every success
and assuring you that it is the "first, fore-
most, and finest,"

Very sincerely yours,

Eileen Lawrenceson,
IS Johnstone Street, Malvern,
Victoria, Australia.

Defense for slang is not new, but
is sometimes beneficial. This reader
says there is a place for slang in the
movies, just as there is a place for
everything representative of any
class of Americans.

Dear Editor — As I am an ardent reader
and admirer of your magazine I am writ-
ing my third letter to you. I have the edi-
torial in the March issue, entitled "Ex-
pletives." Then in the September issue, I
have read a letter written by Mr. Harding
Griffiths, of London, England. I also wish
to express my opinion on the editorial.

In his letter Mr. Griffiths writes that he
agrees with the writer of the editorial that
slang and other vulgar sayings should be
omitted from subtitles of motion pictures.
I disagree with Mr. Griffiths and the writer
of the editorial.

Mr. Griffiths agrees with the writer of
the editorial that slang and other vulgar
sayings should be omitted from subtitles of
motion pictures. I disagree. To my mind
a certain amount of slang is important in
subtitles of photoplays. If Mr. Griffiths
were a great photoplay writer and wished
to write a scenario in which the characters
were from the slums of a large city what
kind of language would he make them
speak? Would they speak higTily polished
society language or the language of the
King's court? Certainly not. He would
not and could not, because the characters
are rough and ill bred and vulgar. They
are not educated in the use of polished and
refined language. Therefore they cannot
use or comprehend such language. So Mr.
Griffiths would have to use the language
that these characters use, which would be
slang !

Sincerely yours,
Stanley J. Dessau.
569 11th Ave., Astoria, L. I.

When we go to the cinema we like
to lose ourselves in the picture, feel-
ing that it is all honest-to-goodness
happenings. But when the impossi-
ble takes place, we are suddenly awak-
ened to the fact that it is only "make-
believe" after all.

Dear Editor— HOW DO THEY DO
IT? I went to see "Civilian Clothes" and
it was a very good picture, excepting that,
when Tommy drank one of the Nineteenth
Amendments,, he put the glass back on the
tray, then talked a while with his better
two-thirds, and when he picked the tray up
again there was no glass on it.

Also, in the Carter DeHaven comedy,
"Spirits," the wife gives a guy her card,
so he can call that night and make a hero
of friend husband. A real crook takes the

How Pretty Teeth

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When you retire with a film on your
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Film is that viscous coat you feel.
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How film destroys

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The news reel
of filmland

Takes you be-
hind the scenes
at the big stu-
dios

Ask your thea-
ter manager to
book it.

Produced in co-operation

with the Brewster

Publications, Inc.

Screen Snapshots, Inc.

1600 Broadway, New York

Peeping into the Private
mid Professional Life of

MMOUS MOVIE -STARS- ■■

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card out of his pocket and puts it in his own
top coat pocket. He then takes it out of
his bottom coat pocket to show it to his pal.
How did it change pockets so suddenly?
D. C. Risser.
Beaumont, Texas.

More thoughtless errors are point-
ed out by this Iowa writer. When
pictures are taken in the order in
which the story naturally takes place
it is probable that such errors will be
eliminated.

Dear Editor — I get the Motion Picture
Magazine every month and I must say that
it is the most interesting magazine I have
ever read.

Alay I call your attention to a picture I
saw sometime ago, "The Prince Chap" in
which Thomas Meighan, my favorite actor
played ? There still lingers in my mind the
question ; when did William Peyton pay his
rent? He promised to pay it when a cer-
tain statue was sold. In another scene,
three years later the same statue was there.
I am wondering if he kept his apartment
for three years without paying rent. If so,
that is more than most people can do now-
adays.

And also, where did "Puckers" get the
rose she held in her hand at the time of the
death of Claudia's mother? The rose
which was given Claudia's mother by the
girl who was posing for the painting, was
crushed as she came out of the studio, after
having been told that she was too late for
the position. Of course, strange things
happen occasionally.

Sincerely yours,
Esther Hansen.

Words of praise are welcome to
young and old, wise or otherwise,
stars or lesser lights. Even Mary will
appreciate this fragrant bouquet
that is sent her from the Philippines :

Dear Sir — I have read a copy of every
issue of your magazine and I am very
interested in talking about motion pic-
tures and the stars. It is not I only, but
also the whole people of the Philippines
who are interested in them. You must
know the Philippine likes the North Amer-
ican pictures, especially the views, houses
and people. Furthermore, American films
are natural and the subject of the pictures
is always nice and interesting and not ex-
aggerated, while some of the films, for
instance the Italian, are rarely used and
not admired very much. All your photo-
plays are fine and the stars likewise. Men
and women, old and young and lame, enjoy
them.

The plays of Mary Pickford or Wallace
Reid are life savers to those who are
drowning in a sea of mournfulness. Wal-
lace Reid, in spite of his handsome face
and fancy acts, had his greatest success
here in "Joan, the Woman." This play
greatly increased his popularity here. Mary
Pickford with her charming beauty, softens
every gentleman's heart, even tho it is hard.
Her face can be compared to the star which
is the brightest of all in the sky. Tho she
dress in humble clothes yet her beauty never
fades. Every man in the city whom you
might ask "who is the most popular actress
of the Paramount," would always answer
"Mary Pickford, the queen of the movies."

I will close my letter with much gratitude
for each edition of your magazine.
Yours very sincerely,

Angela B. Lacdan,
1462 Mangahan St., Sta. Cruz., Manila, P.I.

\92
A<3&

Exit the stereotyped Englishman!
Enter the new virile type ! say the
critics and the cry is echoed by the
author of this letter. If we must
have types, let us have them up-to-
date and true-to-life, such as Herbert
Rawlinson, who is suggested as a pat-
tern for American producers.

Dear Editor — As a subscriber to your
magazine, I should feel greatly obliged if
you would insert the following in your open
column of Letters to the Editor in re-
sponse to an epistle in your May issue.

I notice in your magazine a letter signed
"Edith B. L." about the types of English-
men seen in American films. She is quite
correct — most of them are mere caricatures.
How many Englishmen do you see now
wearing monocles ? You could walk round
here a month and not see one. It is not
pleasant to see a fine American film the
Englishman who is usually an object of
ridicule. I dare say you do see foolish
Englishmen in America, but they are the
exception, not the rule. And when I think
of many fine fellows that I used to know,
who are now lying in soldiers' graves in
France, Gallipoli, and the hundred and one
places where the Englishmen fought, it
seems an insult to the race.

Now, American producers, just think of
this. We appreciate the beautiful pictures
you send us with your fair women and
fine men, but please remember you have
not the monopoly of either. The old coun-
try is not yet played out, not by a long
shot. The men are as virile as ever and
the women are every whit as charming as
their mothers were, which surely bespeaks
an English origin. And what about Herbert
Rawlinson, surely a typical Englishman, if
ever there was one. Why dont you take
him as a pattern and act accordingly, and
remove the cause of so much adverse com-
ment over here?

Wishing you and your magazine every
success, I beg to remain,

Very truly yours,
Wm. I. Crowson,
Mill Gate, Newark, Notts, England.

Pen friends are very welcome
when one is lonely, and especially ap-
pealing is the letter that comes from
a land across the sea. "There is not
a wind that blows but bears with it
some rainbow promise," and the
winds of American motion pictures
bear into Canada, New Zealand, Aus-
tralia, and farther, onto the high seas
and into the far corners of the earth,
a promise of friendship and congen-
iality between peoples of different na-
tionalities. This English girl wishes
to become acquainted by letter with
some American people.

Dear Editor — I have long been a reader
of your three magazines, but England is so
far away, that, up to the present, I have
never written you before.

I have noticed that some readers desire
to correspond with others and I wondered
if you would put me in touch with someone
who wants a pen friend in England.

I should be pleased to write to people of
either sex to discuss screen matters and
things in general. So will you please give
my address to someone of the same mind,
and oblige.

Yours sincerely,

A. Myrtle Rictiker,
206 Fairbridge Road, Upper Holloway,
London, N. 19, England.

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Wanted

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Photoplay Ideas

THIS is an opportunity for you, although you may
have never written for the screen or for publication
In any way before.

The moving picture industry needs thousands of new
scenarios for production during 1921,
and the present writers cannot
supply so many, so there's a ready
market for "new work." Pro-
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I ^rV The writing of photoplays and the

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are now taught successfully by cor-
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trained many successful photoplay-
wrights of today. G. LeRoi Clarke,
a Palmer student, sold his first play
for $3000. Several have sold stories
within six weeks of enrolling.

Such celebrities as Cecil B. De-
Mille, Thos. H. Ince, Lois Weber,
foremost woman director, and Rob
Wagner, noted writer, form the
Palmer Plan Advisory Council.

Our sales bureau, largest in the
world, helps students sell their work.

Send for free books "The Secret
of Successful Photoplay Writing,"
and "Proof Positive," containing
students own endorsements. Do it

Cecil B. DeMllle

Director-Gen e ral.
Famous Playera-
Lasky Corporation.
Member, Palmer Ad-
risory Council.

Thos. H, Ince

Head of Ince Studios
—Member Palmer
Advisory Council.

Send This

Palmer Photoplay Corporation

Devartment of Education,
781 I. W. Hellman Building,

Los Angeles, California.
Please send me, without obligation, your new book,
"The Secret of Successful Photoplay Writing." Also
"Proof Positive," containing Success Stories of many
Palmer members, etc.

Name.....
Address..
City-

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(All correspondence held strictly confidential. )

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YOUR MANUSCRIPTS are very
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mean MONEY TO YOU.

Write us before submitting them to any
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THE UNION MUSIC CO.
432 Sycamore St., Cincinnati, Ohio

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Tke Screen Time- T able

For the benefit of our readers, and by
way of a screen review and critique, every
month we will give, in this department, a
composite opinion of our editorial staff
which may be read at a glance.

When a play strikes twelve, it means
that it is a masterpiece and should be seen
by everybody. When it is rated below six
it contains but little merit. The ratings
are based on the general entertainment
value, but include the story, plot, acting,
photography and direction.

Underneath our own list, we will print
a similar time-table compiled by our read-
ers. Let every reader critic send in a
post-card, from time to time, containing
an abbreviated criticism of one or more
plays. We will print the composite results
here, but only when there are five or more
critiques on the same play so that, in all
fairness, a general opinion will be pre-
sented. Address the Time-table -Editor,
175 Duffield Street, Brooklyn, N.-Y.

D Drama

C Comedy

F Farce

E Educational

SD Society Drama

WD Western Drama

MD Melodrama

CD Comedy Drama

SP Spectacular Production

Superfine 12

Medium 6

Very Poor 1

Editorial Staff
Critique

A Fool and His Money — MD-6.

Eugene O'Brien — Selznick.
Alarm Clock Andy — CD-8.

Charles Ray — Paramount.
Always Audacious — CD-8.

Wallace Reid — Paramount.
Bandbox, The — D-6.

Doris Kenyon — De Luxe.
Beggar Prince, The — D-6.

Sessue Hayakawa — Robertson-Cole.
Behold My Wife — D-8.

Mabel Juliene Scott — Paramount.
Beloved Cheater, The — D-6.

Lew Cody — Robertson-Cole.
Below the Surface — MD-6.

Hobart Bosworth — Paramount.
Bill Henry— D-8.

Charles Ray — Paramount.
Blind Husbands — D-10.

Erich Von Stroheim Prod. — Universal.
Branded Woman, The — MD-6.

Norma Talmadge — First National.
Branding Iron, The — D-10.

Barbara Castleton — Goldwyn.
Brat, The— MD-8.

NazimoVa — Metro.
Broken Blossoms — D-12.

Gish and Barthelmess — Griffith.
Broken Butterfly, The — -D-6.

Tourneur Production — All Star.
Burnt Wings — D-7.

Frank Mayo — Universal.
Charm School, The — CD-9.

Wallace Reid — Paramount.
Cinema Murder, The — MD-7.

Marion Davies — Cosmopolitan.
Civilian Clothes — CD-7.

Thomas Meighan — Paramount.
Copperhead— D-8.

Lionel Barrymore — Paramount.
Conrad in Quest of His Youth — D-8.

Thomas Meighan — Paramount.
Cost, The — D-8.

Violet Heming — Paramount.

Courage of Marge O'Doone, The — MD-9.

Pauline Starke — Vitagraph.
Curtain — D-7.

Katherine MacDonald — First National.
Dancin' Fool — CD-8.

Wallace Reid — Paramount.
Dangerous Days— MD-8.

Mary Roberts Rinehart — Goldwyn.
Darling Mine — C-8.

Olive Thomas — Selznick.
Daughter of Two Worlds — D-5.

Norma Talmadge — First National.
Dawn — D-7.

Sylvia Breamer — Pathe.
Deadlier Sex — MD-5.

Blanche Sweet — Pathe.
Devil's Pass Key, The— MD-10.

Von Stroheim Prod. — Universal.
Devil's Garden, The — D-7.

Lionel Barrymore— 1st National.
Dinty — Wesley Barry — MD-8.

Marshall Neilan Production — 1st Nat'l.
Dont Ever Marry — C-5.

Marjorie Daw — First National.
Double Speed — CD-8.

Wallace Reid — Paramount.
Dr. Jekyll and Mr. Hyde — MD-10.

John Barrymore — Paramount.
Eastern Westerner — F-9.

Harold Lloyd— Pathe
Earthbound — D-9.

Basil King — Goldwyn.
Ever y wom a n — Allegor ical-6.

All Star — Paramount.
Excuse My Dust — C-7.

Wallace Reid — Paramount.
Fair and Warmer — F-9.

May Allison — Metro.
Faith — CD-6.

Peggy Hyland — Fox.
Fear Market, The — MD-7.

Alice Brady — Realart.
Fighting Chance, The — D-10. ' •

Conrad Nagel — Paramount.
Flapper, The — C-7.

Olive Thomas — Selznick.
Forbidden Woman, The — D-8.

Clara K. Young — Equity.
For the Soul of Rafael — D-8.

Clara K. Young — Equity.
45 Minutes from Broadway — CD-7.

Charles Ray — First National '
Gay Old Dog, The— D-ll.^

John Cumberland— Pathe.
Girl in Room 29— CD-7.

Frank Mayo^ — Universal.
Go and Get It — CD-9.

Pat O'Malley— First National.
Good References — CD-7.

Constance Talmadge — First National.
Great Accident, The — D-6.

Tom Moore — Goldwyn.
Great Adventure, The — D-6.

Tom Moore — Goldwyn.
Half an Hour — MD-7.

Dorothy Dalton — Paramount.
Hairpins — CD-8.

Enid Bennett — Paramount.
Haunted Spooks — F-8.

Harold Lloyd— Pathe.
Heart of a Child — MD-8.

Nazimova— Metro.
Heartstrings — D-7.

William Farnum — Fox.
Heliotrope — MD- 6 .

All Star — Paramount.
High and Dizzy — C-9.

Harold Lloyd— Pathe.
His Majesty the American — CD-7

Douglas Fairbanks— United Artists.
Honest Hutch — CD-10.

Will Rogers — Goldwyn.

(Continued on page 98)

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Reconsidering Pearl

{Continued from page 29)

ning her fingers thru her blonde hair, "and
' now that I'm leaving for the South on ex-
teriors it will probably save me buying a
velvet one. ' When I get back it will be
very cold and straw hats will be the vogue."

"But all the things you brought back
from France?" I questioned.

"No hats," she deplored, "Wraps and
dresses — those closets are crammed full of
them. But no hats."

She talks rapidly and she is frank. Prob-
ably at dinner or under similar circum-
stances she would appear to like you when
she did not, but ordinarily, when it wouldn't
embarrass others for her to act frankly, I
doubt any evasion. She has a remarkably
clear outlook and according to her "a thing
either is or it isn't."

"It's chilly driving in from the country
these mornings," she said. "I live out on
Long Island and this year I have no place
in town."

"Perhaps friends have?" I suggested
tentatively.

"Thank Heavens, yes," smiled Pearl. "I'll
probably live a nomadic existence again this
winter as I did last. My place is crowded
all summer — whether I'm home or not, the
crowd comes down for swimming and ten-
nis and always at week-ends. Then in the
winter I determine to go back and forth,
but when I get thru late I find myself
calling someone up and advising them that
I'm visiting them — to leave the key in some
bunk or advise the servants that I'm ex-
pected. That," she said, hands outstretched,
"is what you call reciprocation."

She was about to start work on her fourth
feature for Fox when I saw her and we
were interrupted several times while she
attended to various details. From what I
could gather she is quite as capable of tak-
ing care of the lights and technical details
as the experts engaged for this purpose.

"I've always worried about such things,"
she told me, "ever since I did serials for
Pathe, but it's foolish now when every com-
pany under the sun pays somebody for
worrying especially about that certain thing.
But, as a matter of fact, I'll probably go
on worrying about them just the same. It's
a habit I have — a bad habit."

"Do you believe," I asked, "in taking life
seriously ?"

"No, I dont," she said, "but at the same
time I find that I do. I began to take it
seriously in the beginning — I find it almost
impossible to change."

She thinks your audience is greater if you
do serials, altho she added that the feature
production is a greater personal gratifica-
tion.

With a keen appreciation of the situation,
she told me that only her father and her-
self knew when she was born, because the
town had burned down and all records had
been destroyed.

"Father has probably forgotten anyway,"
she vouchsafed so they'll have me every-
thing from sweet sixteen to forty so long
as I remain on the screen."

She calls her admirers "customers," and
has written, in addition to her biography,
"Just Me," several poems which have ap-
peared in the different magazines, among
them one on baseball about which she ad-
mits she knows nothing.

I tried to have her tell me where she
found the copy for the baseball poem — how
she had thought of it but it was to no avail.

"It's a good poem tho," she defended
smiling, "especially when I'm making per-
sonal appearances at the theaters and the
ushers fail to get my signal to bring down
the flowers — when there are any, I mean.
I always use it then, if I can remember it."

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(Continued from page 45)

cian has to know his instrument to obtain
the best results. A director has to know
his instruments to obtain the best results.
Time is a builder and a potent factor, it
would seem to me."

I asked Miss Breamer what roles, what
plays she is most ambitious to do.

"I prefer to play emotional roles," she
told me, adding with a laugh, "wronged
wives and 'other women;' " I believe that
heavy love is always interesting. As for
plays ... I am mad to do 'Tiger Rose,'
but I know it to be an all but impossible
ambition. The rights are hopelessly tied
up. And I should love to do Barrie's 'The
Twelve Pound Look' — there is chance of
my doing that, with Mr. Franklin, altho
it is only an unformulated plan, as yet"

The day I talked with her, Miss Breamer
was en route the following day for Cali-
fornia, there to see her mother and brother,
who have been with her the past year or
more, off for Australia. Immediately upon
their departure, she is to return to New
York again. This trip makes something
like her thirty-eighth transcontinental voy-
age in a period of eighteen months, or some-
thing phenomenal.

"I rest on wheels," she told me, "I sleep
from the hour I leave until the hour I
arrive. It's the most time-saving rest cure
I know of."

Tne Admirable Optimist

(Continued from page 58)

scenes. When he saw Roberts going thru
his part in dried garments, he exclaimed,
"Man alive, that'll never do; you will have
to get wet again."

"Never," said Roberts. "I wouldn't go
into that water again to-day for a million."

"Ah," said Ray Hatton, who is always
joking with Roberts, "here's my chance,"
and he poured bucketful after bucketful of
water over his laughing confrere.

All in all, Theodore Roberts is very sim-
ilar to every level-headed, worth-while
American. He has no Nietzschean theories,
nor can I compare him to Dante, nor Mac-
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me of the platitudes of Horace nor of the
philosophy of Plato.

He is nothing more or less than a clean-
souled artist, who is happy at work or at
play; at the studio or at home — a large,
welcoming home, which houses the most
wonderful airedales in the world. Thruout
his career, Theodore Roberts has managed
to carry some pets with him. Now he has
innumerable cats, dogs, pigeons, sea-gulls.

He is "Daddy" Roberts not only to all
California, but to those lesser denizens of
the air and water and land as well.

WHAT'S IN A NAME?
Reuben Peterson

Oh, it's proper and heat

Td call Miss Blanche — sweet,

For she's pretty and dainty and sunny
And I'm never above
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ONPICTURF

The S

creen

Time-Tabk

HUMORESQUE — D-ll.

Alma Rubens — Cosmopolitan.
Idol Dancer, The — D-7.

Richard Barthelmess — Griffith Prod.
If I Were King— D-8.

William Farnum — Fox.
Inferior Sex, The — CD-8.

Mildred Harris — First National.
In Old Kentucky — MD-7.
" Anita Stewart — First National;
In Search of a Sinner — C-8.

Constance Talmadge — First National.
Jailbird-, The — CD-S.

MacLean and May — Paramount.
Jack-Knife Man, The — D-ll.

King Vidor Production — First National.
Jubilo — C-9.

Will Rogers — Goldwyn.
Kismet — D-8.

Otis Skinner — Robertson-Cole.
Lady Rose's Daughter — D-5.

Elsie Ferguson — Paramount.
Let's Be Fashionable — C-7.

MacLean and May — Paramount.
Little Miss Rebellion — C-5.

Dorothy Gish — Paramount.
Love Flower, The — D-7.

Carol Dempster — Griffith Production.
Loves of Letty, The — D-6.

Pauline Frederick — Goldwyn.
Madam X.-MD-7.

Pauline Frederick — Goldwyn.
Male and Female — D-10.

Swanson and Meighan — DeMille Prod.
Man Who Lost Himself, The — D-8.

William Faversham — Select.
Mary Ellen Comes to Town — CMD-7.

Dorothy Gish — Paramount.
Master Mind — D-9.

Lionel Barrymore — First National.
Midsummer, Madness— D-9.

All Star — Paramount.
Miracle Man, The — D-ll.

Compson and Meighan — Tucker Prod.
Misfit Wife, The — D-7.

Alice Lake — Metro.
Miss Hobbs — C-6.

Wanda Hawley — Realart.
Mollycoddle, The — C-10.

Douglas Fairbanks— United Artists.
Notorious Miss Lisle — D-7.

Katherine MacDonald — First National.
Nurse Marjorie — CD-7.

Mary Miles Minter — Realart.
Old-Fashioned Boy, An — F-5.

Charles Ray — Paramount.
One Hour Before Dawn — D-5.

H. B. Warner— Pathe. .
On With The Dance — D-ll.

Mae Murray — Paramount.
Over The Hill— MD-10.

Mary Carr — Fox.
Pagan Love — D-7.

Mabel Ballin — Hugo Ballin Production.
Passers-By — D-7.

Herbert Rawlinson — Blackton Prod.
Passion — Tragedy Drama — 11.

Pola Negri — First National.
Peaceful Valley — D-ll.

Charles Ray — First National.
Penalty, The — MD-6.

Lon Chaney — Goldwyn.
Pinto — C-8.

Mabel Normand — Goldwyn.
Pollyanna — CD-11.

Mary Pickford — United Artists.
Prince Chap, The — D-10.

Thomas Meighan — Paramount.
Remodeling A Husband— C-8.

Dorothy Gish — Paramount.
Restless Sex, The — D-5.

Marion Davies — Cosmopolitan.
Right to Love, The — D-8.

Mae Murray and David Powell — Param.

98
Afi£

(Continued from page 94)

Right of Way, The — D-10.

Bert Lytell— Metro.
Romance — D-9.

Doris Keane — United Artists.
Scarlet Days — MD-9.

Barthelmess & Seymour — Griffith Prod.
Sea Wolf, The— D-9.

Noah Beery- — Paramount.
Seeing It Through — CD-7.

Zasu Pitts — Robertson- Cole.
Sex— SP.MD-6.

Louise Glaum — Hodkinson.
Shark, The— MD-7.

George Walsh — Fox.
Shore Acres— MD-8.

Alice Lake — Metro.
Silver Horde, The — MD-9.

Myrtle Stedman— Goldwyn.
Simple Souls — CD-7.

Blanche Sweet — Pathe.
Sins of St. Anthony, The — CD-6.

Bryant Washburn — Paramount.
Sins of Rozanne — MD-8.

Ethel Clayton — Paramount.
So Long Letty — F-7.

All Star — Robertson-Cole.
Something to Think About — D-10.

Gloria Swanson and Elliott Dexter —

Cecil de Mille Production.
Stolen Kiss, The — CD-8.

Constance Binney — Paramount.
Stop Thief-^C-7.

Tom Moore — Goldwyn.
Stronger Than Death — SP., MD-8.

Nazimova — Metro.
Sweet Lavender — D-10.

Mary Miles Minter — Realart.
Suds— CD-9.

Mary Pickford — United Artists.
Third Generation, The — C-10.

Betty Blythe — Goldwyn.
39 East— CD-8.

Constance Binney — Realart.
Tiger's Club— MD-8.

Pearl White — Fox.
Toby's Bow— CD-10.

Tom Moore — Goldwyn.
Toll Gate, The— MD-9.

William S. Hart — Paramount.
Treasure Island— MD-9.

Shirley Mason — Tourneur Production.
Thru Eyes of Men — D-8.

Frank Mayo — Taylor Production.
Twin Beds — F-6.

Mr. and Mrs. Carter De Haven — First

National.
Victory — D-8.

All Star — Paramount.
Village Sleuth, The — C-5.

Charles Ray — Paramount.
Virgin of Stamboul — SP., MD-8.

Priscilla Dean — Universal.
Virtuous Vamp, The — CD-9.

Constance Talmadge — First National.
WaY Down East — D-12.

Gish and Barthelmess — Griffith Prod.
What Women Love — CD-5.

Annette Kellermann— First National.
What's Your Hurry — CD-8.

Wallace Reid — Paramount.
Why Change Your Wife? — D-ll.

Swanson and Meighan — De Mille Prod.
Willow Tree, The — D-9.

Viola Dana— Metro.
Woman Gives', The — MD-6.

Norma Talmadge — First National.
Woman in Room 13, The — MD-8.

Pauline Frederick — Goldwyn.
Woman Game, The — SD-7.

Elaine Hammerstein — Select.
Woman and the Puppet, The — MD-6.

Geraldine Farrar — Goldwyn.
Woman Who Understood, The— D-7.

Bessie Barriscale — Robertson-Cble.

World and His Wife — D-9.

Alma Rubens — Paramount.
Yellow Typhoon — MD-7.

Anita Stewart — First National.
Yes or No— CD-7.

Norma Talmadge — First National.

Readers' Critique

Blackmail — MD-10.

Viola Dana — Metro.
Cup of Fury, The — D-10.

Helene Chadwick — Goldwyn.
Dark Mirror, The — D-5.

Dorothy Dalton — Paramount.
Devil's Garden, The — D-7.

Lionel Barrymore — First National.
Devil's Passkey, The — MD-10.

Von Stroheim Production — Universal.
Double Speed — CD-9.

Wallace Reid — Paramount.
Dr. Jekyll and Mr. Hyde — MD-11.

John Barrymore — Paramount.
Everybody's Sweetheart — D-7.

Olive Thomas — Selznick.
Excuse my Dust — CD-9.

Wallace Reid — Paramount.
Forbidden Woman, The — D-10.

Clara Kimball Young — Equity.
45 Minutes from Broadway — CD-8.

Charles Ray — First National.
Humoresque — D-12.

Alma Rubens — Cosmopolitan.
Idol Dancer, The — D-5.

Richard Barthelmess— Griffith Prod.
Invisible Bond, The — SD-6.

Irene Castle — Paramount.
Jubilo — C-9.

Will Rogers — Goldwyn.
Ladder of Lies — D-7.

Ethel Clayton — Paramount.
Lady Rose's Daughter — SD-5.

Elsie Ferguson — Paramount.
Little Miss Rebellion — C-10.

Dorothy Gish — Paramount.
Madam X— MD-11.

Pauline Frederick — Goldwyn.
Midchannel — D-7.

Clara Kimball Young — Equity.
Mrs. Temple's Telegram — CD-7.

Bryant Washburn — Paramount.
Once to Every Woman — D-7.

Dorothy Phillips — Universal.
Officer 666— CD-10.

Tom Moore — Goldwyn.
Penalty, The— MD-11.

Lon Chaney — Goldwyn.
Prince Chap, The — D-10.

Thomas Meighan — Paramount.
Right of Way, The — D-12.

Bert Lytell— Metro.
Romance — D-8.

Doris Keane — United Artists.
Scratch My Back — CD-9.

Helene Chadwick — Goldwyn.
Silver Horde, The — D-7.

Myrtle Stedman — Goldwyn.
Sins of Rozanne — MD-12.

Ethel Clayton — Paramount.
Sins of St. Anthony — CD-3.

Bryant Washburn — Paramount.
Suds— D-8.

Mary Pickford— United Artists.
Sweet Lavender— D-7.

Mary Miles Minter — Realart.
Test of Honor, The — SD-10.

John Barrymore — Paramount.
Treasure Island — MD-7.

Shirley Mason — Paramount.
White Moll, The— MD-8.

Pearl White— Fox.
Why Change Your Wife — D-ll.

Swanson-Meighan — De Mille Prod.
Woman Game, The — SD-6.

Elaine Hammerstein — Selznick.

•£>1

« OT JSI UR P)

"Love s Redemption

has been completed and is now being cut and titled. It is ready for the market.

Ask your exhibitor to book it so that you may see it at your theater.

All of the Final Honor Roll and Winners of the 1920 Fame and Fortune Contest
appear in this photodrama, and, aside from this feature, the story is unusually pow-
erful and beautifully played.

Following is the cast of characters:

Peggy Logan Blanche McGarity

Mike Logan Dorian Romero

Ralph Lane Lynne M. Berry

Lucille Worth Anetha Getwell

Mrs. Lane Katherine Bassett

Mrs. Worth Octavia Handworth

Detective Wm. R. Tallmadge

Edwin Markham Edwin Markham

Hudson Maxim Hudson Maxim

Richard Worth Arthur Tuthill

Mrs. Lane's Maid Cecile Edwards

Officer Kelly , Wm. Castro

Officer Reilly Ellsworth Jones

Officer Jones Seymoure Panish

The President James J. McCabe

The Poet's Little Friend.

Broker Joseph Murtaugh

Billy Logan . Dorothy Taylor

Mrs. Sykes Effie Palmer

Mrs. Lane's Nurse Bunty Manly

Bill Sykes Alfred L. Rigali

Worth's Maid, Marie — Erminie Gagnon

Jewelry Clerk Edward Chalmers

Doctor White Charles Hammer

Another Doctor Wm. White

Rent Collector Norbert Hammer

Worth's Butler Carl Chalmers

Worth's Servant Doris Doree

Worth's Housekeeper. .. .Mrs. F. Mayer

Police Captain O. L. Langhanke

Pawnbroker Jose Santo DeSegui

Ruth Higgins

Edwin Markham, the greatest of living poets and author of the immortal "The Man
With the Hoe," makes his first screen appearance in this photodrama, and so does
Hudson Maxim, the great inventor, and Hon. Lawrence C. Fish, Judge of the Muni-
cipal Traffic Court. The leading part is beautifully played by Blanche McGarity,
winner of last year's contest, who takes the part of a fifteen-year-old poor girl.
Octavia Handworth, who was for years Crane Wilbur's leading lady, plays an im-
portant part, as also does Anetha Getwell, another of last year's contest.

Date or Release to be Announced Later

For further particulars, address

BREWSTER PUBLICATIONS, Inc.

175 Duffield Street, Brooklyn, New York

(pros

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Coffee Pots and Croons

{Continued from page 23)

as long if it were rinsed out every night.

And out of this cocoon has burgeoned
Betty Blythe, the cinema star. Her body
is exquisite. A maid follows at her beck
and call. She purchases batik — that be-
loved material of pagan-souled women — at
exorbitant prices. She signs large checks
without hesitation. She dominates scenes
in which 400 persons appear, by the power
• of her physical presence alone. I am not
speaking hearsay, I am telling you that of
which I myself have been a witness.

"I am so tremendously happy," Betty told
me recently, "that I find it extremely dif-
ficult to do the tear scenes. Almost im-
possible !"

Is it her newly born success, you ask,
which accounts for this?

Partly that, but more because she has re-
alized her great desires all at once.

She has just married Paul Scardon and
love has formed the crown for Betty's
career.

"Marriage and love have developed the
best there is in me," says Betty. "The only
worth while things I have ever accom-
plished have been done since my marriage.
It is all so wonderful. At night we plan and
talk over our aspirations together and Paul
rehearses me in my parts. He has even
higher ambitions for me than I have for
myself. No — he will not direct me. I
think it fairer to both of us to keep our
careers separate and distinct."

In her dressing-room, on the set, in the
studio, Betty Blythe is a fragrant, vivid
person wrapped in brilliant colorings.

At home she maintains that she wears
softer shades. I dont know, I shall have to
see to believe. For the fire of her presence
is such that even baby blue would crimson
at her touch, I feel.

As yet, Betty Blythe is unspoiled. She
is controlling her natural tendency for a
prima donna temperament with an iron will.

No one who is not driven by that vast
energy of genius can understand the taut
nerves resulting from perpetual pushing
endeavor.

But Betty Blythe has that necessary
leaven to an artistic temperament, someone
she loves better than herself, her husband,
which with her naturally clear head will
prevent her from falling into the class of
spoiled beauties.

But, Betty ! dont ever ask me again to
imagine you and that coffee pot — for, Betty,
I saw you in a crown and a robe of barbaric
beauty.

And it just cant be done.

A REUNION
By Alice Thorn

The stillness of the village all about me,
Green, grassy slopes and many a spread-
ing tree ;
A prim New England street, white spire
and homesteads,
As lonely as a fellow well can be.

But round the corner, Hghts are cheer-
fully twinkling,
And well I know what I shall thrill to
see.
A little hall, piano softly playing,

'Tis here a welcome surely waits for me.

Upon the screen they smile, old friends
and famous,
Far from the town we love, yet here
we meet . . .
It warms my heart, this sort of glad re-
union,
These movies on a quiet country street.

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The Marsh Flower

{Continued from page 55)

iarly her own, which never fails to grip
and hold her audiences.

Not only does this little actress possess
the great art of successfully expressing her
emotions in her sensitive face but in her
entire body as well. Who of us will ever
forget those small hands twisting in her lap
as they plainly told the heart-rending agony,
shaking The Girl, in the famous court
room scene in "Intolerance," while her eyes
smiled bravely to comfort The Boy, in
his crucial trial? I believe this was one of
the most subtle bits of acting that has yet
reached the screen.

It was Bobbie Harron who played the
role of The Boy, and when we spoke of
his recent tragic death, Mae's grey eyes
filled with tears and she told me he was the
sweetest boy she had ever known and that
it was still impossible for her to realize
that he was really gone.

Miss Marsh's girlishness has been deeply
touched with a new womanly dignity and
softness and she is embued with the quiet
contentment that bespeaks a happy heart.

She feels that the love element is abso-
lutely necessary in all film stories. "All
the world has loved, is loving or hopes
to love," she went on, seriously, "so this
naturally becomes the universal theme. It
is the fundamental of life so it must be of
motion pictures which endeavor to depict
life as it is. Can you imagine a world
without romance, without loving or being
loved?" and the soft voice expressed the
tragedy of the mere thought.

"Simplicity and sincerity are what count
before the camera and they bring success
to the picture," she continued. "The tear —
the smile — with the intermediate shadings,
should be faithfully studied. For my own
I become so attached to my screen charac-
ters, watching them develop and become
real beings, that I am always filled with
regret when I have to bid them farewell in
the final scene."

Regarding careers, Miss Marsh believes
that, as a woman has many sides to her
nature, she needs the stimulation of work,
a visible outlet for her energies, this being
the surest remedy for routing the great
feminine foe — restlessness.

"I tagged my way into motion pictures,"
Mae grew reminiscent. "I used to follow
my sister Marguerite to the old Biograph
studio and then, one great day, Mr. Grif-
fith noticed me, put me in a picture and I
had my chance. I love my work and tho
new and very wonderful interests have en-
tered my life, I still love it and couldn't
think of giving it up."

"And the future?" I ventured.

"I want to go on and do better things
in motion pictures. Some day, I hope to go
on the stage. I believe all our experiences
combine to make us better actors. We may
not need to actually live thru everything we
act but at least, we must have gained a
comprehension of the mental attitude at-
tending each experience and this comes only
by touching life at many points. I have
always idolized Maude Adams, Julia Mar-
lowe and Mrs. Fiske — they have been my
inspiration. All three have lived— strug-
gled — achieved."

"Should Mary develop a talent for act-
ing" — I began.

"I shall give her every chance to fulfil
her destiny," promptly replied the little
mother, "I dream of great things for her
but most of all I want her to be blessed
with the gift of Happiness. Nothing else
really counts — the trouble comes in finding
out just what constitutes happiness," which
remark goes to show that the new Mae
Marsh is becoming philosophic.

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DR. QUINN AT HIS PIANO
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101 y

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The Human Mote

(Continued from page 40)

She became enthusiastic, to the dire dis-
comfiture of the coiffeur who brandished
a threatening iron — at me, I think.

"Four plays for the screen," she told me ;
"four well-known Broadway successes.
Cant tell you what the names of them are —
or rather, cant tell the G. A. P. what they
are — nozv, because it would spoil my punch
to announce them so far ahead, but they're
well-known, well-loved, human plays and
I'm going to do them according to Drew
tradition — humanly."

"You going to be in 'em?" I asked, "or
what ... ?" Knowing that she had done
considerable writing and directing without
personal appearance since Sidney Drew's
death, I wondered.

"Going to adapt them for the screen, di-
rect them and- play the leading woman role
in them," she said; "I believe it's my logical
next step. The Screen needs, just now,
some fine homely strong plays with a
mature sort of woman the dominant in-
terest. I couldn't play the young girl or the
ingenue even if I wanted to. I am known
as Mrs. Sidney Drew, a mature woman in
her thirties. I shall continue to be known
as such — if not more so. When I made my
personal appearance in "Keep Her Smil-
ing," the public swooned. They had ex-
pected forty — or even fifty, I suppose. I
believe that I am the one to do these plays.
I am known. I am the only woman of my
type and age (which is 30, as it happens),
that I know of. And I have selected the
plays to fit my personality and my ability.
They are to be the stuff — strong stuff of
every day — poetry and prose — idea and
ideal — life, love and all of it — human!"

"Why stage plays?" I asked, knowing
her own creative ability along the line of
playwriting.

"That's my commercialism," she said,
briskly, "Mrs. Sidney Drew in some un-
known human drama is all very well — per-
haps. But Mrs. Sidney Drew in (and here
she quoted the name of a widely known
Broadway success) is, I think, a sure fire
proposition. Part of knowing your human
stuff," she said, "is to admit into the whole
a decent ingredient of commercialism. To
be too highbrow is as dangerous as to be
too lowbrow. Steer a middle course. I
want to give 'em red blood, the modern
dream and strife, the good old hearthstone,
the glad hand and the warm heart and I'm
going to do it if it takes me the rest of my
life to make 'em know how much they need
it and how much they love it!"

"Well, they love you," I said, reflecting
on the letters from her aforementioned G.
A. P. we receive at our office daily, crying
"Give us more of the Drews — give us the
sort of thing they used to do !"

"I want them to love zvhat I stand for"
she said, "without which I am not com-
plete."

SOCIETY NOTE

After a protracted stay in Germany, Mile.
Alsace Lorraine has returned to her home
in France and will remain indefinitely.

Gebhart. — Is that a popular song the
pianist is playing?

Carsone. — It was before she began play-
ing it.

Walter Pulitzer.

JgM3MSJ2J3MSJSM5r3JSMaJSJSEI5J3J3J3ISEJSlS

Shadowland

tor FEBRUARY

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A series of articles on the mo-
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W. L. GEORGE
the British novelist who wrote
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The first of this series appears in
February Shadowland.

FRED. JAMES SMITH
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SHALIAPIN
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picture pages, and personality stories
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SHADOWLAND

102

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Contest Resume

{Continued from page 41)

tent with the first camera test of many of
the leading contestants, but they could not
believe the evidence of their eyes when they
saw the screen tests of Miss Palmer. Many
more tests were made and under the most
trying conditions, and it was finally dis-
covered that she stood the acid test of the
most trying emotional scenes that were
given to her. In fact, she screened so well
that she was promptly given the leading
female role in "Ramon, the Sailmaker," a
five-reel feature which was just being pre-
pared for production, with Orville R.
Caldwell in the leading role.

Mr. Caldwell stands six feet three
inches, and is making a great impression
on New York audiences in the picturesque
role of leading man in "Mecca," at the
Century Theater, New York.

Miss Palmer stands five feet five inches,
and each acts as an admirable foil for the
other.

The production is now nearly completed
and it will probably be released thruout the
country before the first of the year.

A number of other girls in the contest
also appear in this picture and Allene Ray,
who came out second in the 1920 contest
has a prominent role. These two winners,
the Misses Palmer and Ray have been in-
terviewed and the articles will soon appear
in all three of the Brewster Publications
concerning them.

Realizing the great success of the contest
that is just over, it is with great pleasure
that we enter into the new one, confident
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<fi

The Old Hokum Bucket

(Continued from page 32)

In pictures revolving about individuals
belonging to that extraordinarily under-
censused set known as the Four Hundred,
it has become an established vogue to in-
troduce the hero dining in a room resem-
bling a Furniture Exposition. And yet,
because they have been fed this fascinating
sight so many times, audiences have become
willing to accept it as bona fide, when in
truth it is the variest hokum. These same
gilded circles dress their maids in the popu-
lar musical comedy mode — short skirts re-
vealing gleaming black silk stockings and
pertly heeled shoes — and cause their butlers
to crook their arms at the elbow as if seized
by a painful cramp. As a matter of cold
fact, maids along the Drive are somberly
and conservatively caparisoned, while but-
lers have arms that swing just as easily as
yours or mine. The true version, however,
is the less picturesque, and as such, would
not jibe with the conventional treatment to
which the "fan" has grown accustomed :
besides eliminating that which is, in the
parlance of the Kliegs and Cooper Hewitts,
"society stuff." In celluloidland, a butler
who does not crook his arms is no butler.

More than one giggle has been extracted
from the situation of the country bumpkin
who shakes hands with the austere butler
when the latter has extended his hand for
the rural chapeau. Further laughs have
resulted from that mossgrown bit that pic-
tures the yokel from the backwoods re-
fusing to surrender his hat at the check-
room of the gilded cafe. Old, you say?
And yet you smiled when Raymond Hatton
pulled it only so recently as in "The Dancin'
Fool" ! Charles Ray has done it times im-
memorial ; this, and variations of it. Some-
times, perhaps, it has been his unwilling-
ness to relinquish his carpet-bag to the bell-
boy, but in effect, it has always remained
the same. Ray has, incidentally, a con-
siderable repertoire of hokum with which
he sprinkles his rube characterizations.
Consider him as the bashful wooer, twist-
ing his cap, or tearing his handkerchief, in
his embarrassment; as the ambitious farm-
lad determining to make good in the big
city ; as the boorish hayseed dazzled by the
glare of the white lights ; as the abused
"hick" among "city fellers," — and so on,
thru the list, repeated in play after play,
with uniformly steady success.

When the sinning Theda Bara and her
sister-cinema actress, the florid Valeska
Suratt, were at height of their lurid film
careers, creating purple pasts, the hokum
used to overflow from the screen into the
first rows, so potent was it — and so lavishly
applied. Virginia Pearson and Louise
Glaum were others who affected the pastime
of wrecking homes, while Kitty Gordon
and Dorothy Dalton also succeeded in keep-
ing the Ohio Board of Censors ever on the
qui v'we. Here were films decked with
leopard-skin couches and Chinese in-
cense, perfumed cigarets and Egyptian
idols, rich young sons and handsome old
fathers, grey-haired mothers and blonde,
ingenuous wives, midnight revelry in pri-
vate rooms rivaling the Grand Central
Station in area, and climaxes in the en-
trance of the New York Police Force. "You
must choose between us, Harold !" was
bound to appear somewhere along about
the middle of the picture — altho sometimes
it was Albert or Gregory. And at the
conclusion of reel-the-last, a blonde bit
of precocity invariably afforded the re-
conciliation by joining mamma's and
daddy's hands, which, likewise invariably,
inspired the scenario-writer to produce
that old favorite, dusted up for winter wear,

"And a Little Child Shall Lead Them."

The sturdiest limb of the hokum tree is
the last minute rescue. While the audience
writhes in the seat and the orchestra plays
"hurry" music, the hero breaks in the door
just as the villain is about to kiss the
heroine on the mouth — just in time to save
the picture from being demolished by the
National Board of Censorship! Think back
to "Hearts of the World," "Scarlet Days,"
"The Idol Dancer," and the more recent
"Love Flower." Variations of this motif
were to be found in them all. This merely
proves that even a Griffith appreciates the
necessity of hokum, if the play is to possess
a universally popular appeal. In the days
when World was functioning, there was
hardly a product from their Fort Lee
foundry that did not present some beautiful
lady being chased around a gilt table in a
lonely roadhouse or country estate, with in-
termittent flashes of the hero swerving
around corners in his racer, on the way to
the last-reel rescue.

When the Civil War is depicted, there
will always be a courier to dash up on
horseback, dismount from his foam-flecked
charger and madly dust the powder from
his chest with his gauntlets. And there will
be, nine times out of ten, the pardon at
sunrise, as the orchestra strikes up "Stars
and Stripes Forever," while the hero ac-
cepts congratulations from General Grant,
and slips away to a nearby orchard where,
amidst the fluttering peachblossoms, he slips
a ring on the hoop-skirted heroine's finger
and enfolds her in his arms, as the camera-
man knocks off work for the day.

If you attend a celluloid drama wherein
the butler's name is given on the screen, you
may rest assured that this advance notice
is to prepare you for his offer, later on,
of his life savings, to the master who has
been ruined in the street by the drop of P.
D. & Q. Perhaps the master has lost his
fortune because of a woman rival, with
whom he is necessarily in love. In that case,
in your search for the hokum trail, you
may look for the enlightening subtitle "I
cant fight a woman, Hendrickson !" this to
his partner or advising friend. In another
part of the picture you will find the woman
in the case dismissing the hero, and stretch-
ing her arms out in silent longing, toward
the door thru which he has just passed.
These things are expected and enjoyed, and
so long as they continue to draw the plau-
dits of the audience, they will continue to
be important parts of our screen-fare.

Certain axioms are observed in the spool-
ing of pictures that are directly traceable
to the influence of the Old Hokum Bucket.
For example, there is a revolver in every
library drawer, just as there is one of the
pearl-handled variety in every boudoir
dressing-table, and a .38 in every office desk.
Whenever someone wishes to follow or chase
someone else, it is to be regularly assumed
that there is a vacant taxi always waiting.
Englishmen always have monocles and
waxed moustaches, and country heroines
must have the sun shining thru their golden
hair. Whenever necessary, the hero will
eat the incriminating "papers." In so recent
an opus as "The Mollycoddle," Doug Fair-
banks accomplished this impossible feat.
He was able to do it because it had been
done before by matinee idols not a whit
handsomer than he. Why not?

Director, playwright, star and producer
alike, all gather around the Old Hokum
Bucket, drawn, dripping with ideas, from
the well of sure-fire stuff. For without its
inspiring draughts, the pictures would lan-
guish and die.

104

AGENTS WANTED

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something new ; sells like wildfire ; carry in pocket ;
write at once for Free Sample. Albert Mills, Gen.
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Agents — $40-$100 a Week — Free Samples. Gold
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COLLECT OLD COINS for pleasure and profit.
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OLD MONEY WANTED— $2 to $500 each paid
for hundreds of Coins dated before 1895. Keep All
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FEMALE HELP WANTED

WOMEN to Sew. Goods sent prepaid to your door ;
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At Once — Five bright, capable ladies to travel,
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FILMS DEVELOPED

Mail Us 20c with any size film for development and
six velvet prints. Or send six negatives any size
and 20c for six prints. Or send 40c for one 8x10
mounted enlargement. Prompt, perfect service.
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FOR THE LAME

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HELP WANTED— MALE

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Men Wanted for Detective Work. Experience
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GAMES AND ENTERTAINMENTS

PLAYS, VAUDEVILLE ACTS, Monologues, Dia-
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JEWELRY, ETC.

MAIL DIRECT TO THE REFINERS any old

gold, silver, magneto points, old watches, platinum,
old or broken jewelry, diamonds, false teeth, gold
or silver ores or nuggets, War Bonds and Stamps.
Send them to us today. Highest prices paid in
cash by return mail. Goods returned in 10 days if
you're not satisfied. THE OHIO SMELTING &
REFINING CO., 240 Lennox Bldg., Cleveland, Ohio.

MISCELLANEOUS

Write the Words For a Song — We revise poems,
write music and guarantee to secure publication.
Submit poems on any subject. Broadway Studios,
105M, Fitzgerald Bldg., New York.

MOTION PICTURE BUSINESS

$35.00 Profit Nightly — Small capital starts you.
No experience needed. Our machines are used and
endorsed by government institutions. Catalog free.
Atlas Moving Picture Co., 431 Morton Bldg.,
Chicago.

NEWS CORRESPONDENCE

Earn $25 Weekly, spare time, writing for news-
papers, magazines. Experience unnecessary ; de-
tails free. Press Syndicate, 560 St. Louis, Mo.

PATENTS

Patent — Send for free book. Contains valuable in-
formation for inventors. Send sketch of your in-
vention for Free Opinion of its patentable nature.
Prompt service. (Twenty years experience.)
Talbert & Talbert, 4919 Talbert Bldg., Washing-
ton, D. C.

Patents — Write for "Record of Invention" Blank
and Booklet giving full information. Send sketch
or model for preliminary examination. Prompt
Service. Reasonable Terms. J. L. Jackson & Co.,
278 Ouray Bldg., Washington, D. C.

Inventors — Write for our free illustrated guide-
book, "How to Obtain a Patent." Send model or
sketch and description of your invention for our
opinion of its patentable nature free. Highest refer-
ences. Prompt attention. Reasonable terms. Vic-
tor J. Evans & Co., 833 Ninth, Washington, D. C.

PHOTOPLAYS

Photoplays and Ideas Wanted for California
Producers. Also Stories, Articles. Criticize free,
sell on Commission. Placing of acceptable MSS.
assured. To Beginners, Plot Chart free — Corre-
spondence Course or Experience unnecessary if you
have Ideas. Submit MSS. or write, Harvard Com-
pany, 220, Italian-American Bank Bldg., San
Francisco.

Ambitious Writers of Photoplays, Short Stories,
Poems, Songs, send today for Free, valuable, in-
structive book, "KEY TO SUCCESSFUL WRIT-
ING," including 65 helpful suggestions on writing
and selling. Atlas Publishing Co., 503 Butler
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Free to Writers — A wonderful little book of mon-
ey-making hints, suggestions, ideas ; the ABC
of successful story and play writing. Absolutely
free. Just address Author's Press, Dept. 8,
Auburn, N. Y.

Stories and Photoplay Ideas Wanted by 48

companies ; big pay. Details free to beginners.
Producers League, 441, St. Louis, Mo.

$1200 a Year Writing Photoplays — You can

write them. Turn your ideas into dollars. We
teach only sure method. Send for free book valu-
able information and special prize offer. Chicago
Play Coll., Box 278-B-22, Chicago.

Photoplays Wanted — Big prices paid. You can
write them. We show you how. Experience un-
necessary. Easy, fascinating way to earn money
in spare time. Get free details. Rex Publishers,
Box 175, B33, Chicago.

SCENARIOS WANTED

Exchange Plots For $$ — Photoplay ideas accepted
any form ; revised, t-?ped, published, copyrighted.
Sold. Advice free. Universal Scenario Corp., 262
Western Mutual Life Bldg., Los Angeles.

SCIENTIFIC

Do You Wish to Know whether you will be suc-
cessful, win friends, be happy or the reverse?
Wonderful . results. The "Key to Success" and
Personality Sketch for 10c and birthdate. Thom-
son-Heywood Co., Dept. 550, Chronicle Bldg., San
Francisco.

SHORT STORIES

Writers: Have you a song-poem, story or photo-
play to sell? Submit MSS. now. Music Sales Co.,
42, St. Louis.

SHORT STORIES, PHOTOPLAY PLOTS, Etc.,

Arranged and Typewrtiten in proper form, and
placed on the market. Submit manuscript written
in any form, or write for details. H. L. Hursh,
Dept. 2, 123 S. Third St., Harrisburg, Pa.

SONG POEMS

Write the Words for a Song — We compose music
and guarantee to secure publication on royalty
basis by New York music publisher. Our Chief
Composer is a song-writer of national reputation
and has written many big song-hits. Submit poems
on any subject. Broadway Studios, 105B Fitzger-
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Write a Song Poem. Love, Mother, Home, Comic
or any subject. I compose music and guarantee
publication. Send words today. Edward Trent,
633 Reaper Block, Chicago.

Sou Write the Words for a Song. We'll com-
pose the music free and publish same. Send Song
Poem today. J. Lenox Co., 271 West 125th St.,
New York.

If You Write the Words for a Song, I will com-
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on a royalty basis by either a New York or Chi-
cago Publisher. I have written many big song
hits, including "DESERTLAND," SWEET
SOUTHERN DREAM" and "MY LOVE FOR
YOU." Submit poems on any subject. E. Hanson,
3810 Broadway, Room 100, Chicago.

SONG WRITERS

Write the Words for a Song — We will write the
music and guarantee publication on a royalty basis.
Leo Friedman, COMPOSER TO THE AMERICAN
PEOPLE, is our leading composer. His greatest
hit, "Meet Me Tonight in Dreamland," reached
the sale of 2,000,000 copies. Submit poems on any
subject. Seton Music Company, 920 S. Michigan
Ave., Dept. 101, Chicago, Illinois.

You Write the Words for a Song — We will write
the music, publish and secure copyright. Edouard
Hesselberg, our chief composer, has to his credit
the great hit "If I Were a Rose," and other fa-
mous songs. Submit poems on any subject. Send
for our Song Writer's Guide and submit poems at
once. Metropolitan Studios, 914 South Michigan
Ave., Dept. 140, Chicago, Illinois.

Write the Words for a Song — We compose music
and guarantee to secure publication on royalty
basis by Neiv York music publisher. Our Chief
Composer is a song-writer of national reputation
and has written many big song-hits. Submit poems
on any subject. Broadway Studios, 105A Fitzger-
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Song-Writers — Manual and Guide Sent Free!
Contains valuable instructions and advice. Submit
song-poems for examination. We will furnish
music, copyright and facilitate publication or sale.
Knickerbocker Studios, 309 Gaiety Bldg., New
York.

You Write Words for a Song — We write the
music, publish and secure a copyright. Submit
poems on any subject. The Metropolitan Studios,
914 S. Michigan Avenue, Room 103, Chicago, 111.

STORIES WANTED

Earn $25 Weekly, spare time, writing for news-
papers, magazines. Experience unnecessary ; de-
tails free. Press Syndicate, 560 St. Louis, Mo.

Stories, Poems, Plays, etc., are wanted for pub-
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MMS. or write Literary Bureau. 134 Hanuibal, Mo.

VAUDEVILLE

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postage for instructive Stage Book and particulars.
B. LaDelle, Box 557, Los Angeles, Calif.

105

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"What I called him was terrible," Tony
later confessed to me. "I called him a

blackmailer — and a ," (unmentionable

epithets,) "I nearly sloughed him. And
then — after I had blown everything off my
chest — I bought the advertising."

"And why did you do that ?" I demanded.

"What else could I do after insulting
the man?" replied Tony, with a shrug.

His memory is remarkable, both for
courtesies and insults. During a visit to
New York, he was interviewed by several
newspaperwomen. He requested me to for-
ward the articles when they appeared. Two
appeared simultaneously, both splendid in
their conception of Tony, and I mailed
them at once. Five days later I received a
telegram: "Send roses and my appreciation

to Miss and Miss . Most grateful

for the nice things they said."

It was midwinter. The bank account was
low. But I sent roses from a Fifth Avenue
shop. Immediately upon my arrival in
California, a month later, Tony demanded
to know the bill. I told him. "Is that all ?"
he cried in disgust when I mentioned the
young fortune I'd spent. "My, but you're
a cheap bird."

I politely told him to go to a place
much, much rosier than New York.

One fault in Tony which always upsets
me is his punctuality. He has the irritating
habit of making appointments with you for
some such uncanny hour as nine o'clock in
the morning. Worse, he always is on time,
and Tony exercises the same patience in
waiting as a polar bear. He paces up and
down, swears and works his watch-chain.
Virtually every person who interviewed him
in New York was late for appointment.
Tony never was. Which, as every inter-
viewer knows, is a reversal of form.

He may be temperamental as a Spaniard.
He isn't as a star. I never knew any player
so conscientious about a company's time.
Not long ago a photographer, whose work
Tony greatly admires, called upon the star
to make some studies of him for the maga-
zines. Tony wouldn't give the time.

"I appreciate with all my heart the
honor," he explained, "I know your wonder-
ful work and the good it would do me, but
I must refuse. I cannot take the com-
pany's time. Please have dinner with me
some evening before you leave California."

Incidentally, his best role is that of host.
Never is he so ebullient as when entertain-
ing. He has the finesse of the European
for the details of gallantry. No matter how
indigo his mood, it becomes roseate upon
the arrival of guests. They would never
suspect that he had spent the afternoon in
a dentist's chair or doing stunts in icy
water. Nor is this gallantry an effort.
Affectation is impossible to Tony. He must
feel the part or he's out of the picture.

On a trip to San Francisco not long ago
he earned the title of "the prince of good
fellows," because of his liberality with tips
and his ability as a host. Yet, in Los
Angeles he seldom indulges in parties.
Tommy Meighan, I believe, ranks highest
among his friends. He and Tommy have at
least one mutual bond — their detestation of
conceit and starry ostentation. Both have
a host of staunch friends outside of the
picture profession.

I suppose the feminine admirers of Tony
would not be content with an impression
unless it contained his opinions about wom-
en. I must say that I fail on that score.

I never heard him discuss women indi-
vidually. Rumor often has engaged him to
various celebrated stars — Edith Storey,

Alice Joyce, Alice Lake, Viola Dana. And,
as customary, without authority. He is
a great admirer of women but not of
flappers. Those of intellectual attainments,
sans flapper coquetry, fascinate his atten-
tion. He must be very successful with
women, not only because of the way he
rivets his black eyes upon them but be-
cause he is an eloquent listener. His at-
tention never deflects when a lady is speak-
ing. Personally, I think he has a Svengali
influence over the fair. I never knew any-
one who had such an instinct for the right
compliment. For instance, if a woman is
obviously beautiful, he usually commends
her for her cleverness. If she is very
clever, he usually manifests interest in her
eyes, her hair or her carriage. It's a gift.

I find, to my surprise, that I might easily
write a volume about Tony Moreno. He's
the most colorful male star of pictures, in
my opinion. But I'm reminded that there
is a shortage of paper, so I'll resort to a
resume of remaining traits and preferences.

His great ambition, just now, is to go to
Spain ; if possible, to make a picture there,
most of all to see his mother, Senora Ana
Moreno, living at a country place near
Gibraltar. His father, Juan, who was a
soldier, is dead. Born in Madrid, Tony
was brought to this country at the age of
fifteen by a guardian, Senor Enrique Za-
netti, a lawyer and capitalist, who recently
visited him in California. His principal re-
creation is — work. He liked serials because
they kept him busy. Inaction gives him
the willies ; if prolonged, it would drive him
mad, but probably not before he drove his
friends mad. His religious persuasion, he
says, is the Golden Rule, but woe unto him
who doesn't do by Tony as Tony does by
him. He is American to the extent that he
doesn't practise revenge, but he considers it
logical, if not sweet. Another inclination
which he has over-ruled is that for color.
He is conventionally fastidious in dress, but
he loves color at home — preferably crimson
and royal purple. Reading does not interest
him; it is too passive. He is particularly
conscientious toward his work, his bills, his
friends, his enemies, his dog, and his fan
mail. Heaven protect his secretary if a
fan letter is neglected. All have his equal
attention. One day the secretary called
particular attention to a request from a
member of European royalty for a signed
picture. Tony seized an ordinary, small-
seized photograph, such as he sends to all
the fans, leaned against the wall and hastily
scrawled his customary fan greeting across
it. "Aren't you going to send his nibs a
special one?" asked the secretary. "Why
should I?" demanded Tony. "The fans
support me ; he doesn't." From association
with Tony, I am persuaded that Spaniards
are more democratic than Americans. No
one has caste in Tony's eyes, no matter
how much one may be able to do for him.
He's impulsive, as quickly bestowing
sympathy as denunciation — and sometimes
both on the same person at almost the
same time. He never accepts valuable gifts
from admirers ; I have seen a number re-
turned. But if the gift is inexpensive, he
writes or wires appreciation. Once he had
himself photographed admiring a funny
little gift which a French girl had made
for him. The picture was sent to her.
Mercurial of mood yet always sincere,
energetic, adventurous, and alert, he cer-
tainly is a picturesque personality, with the
sensitive, fiery mettle of a thorobred.

He has recently deserted serials and re-
turned to feature dramas, the first being
; "Three Sevens."

P106

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That Bee In Your Bonnet

is a big idea that is forever buzzing and demanding expression.
Every person has a big idea now and then that would make an
excellent photoplay. Some people have endless ideas but do not
know what to do to make them salable. So

John Emerson and Anita Loos

are writing a series of articles on scenario writing, the second of
which

' \Vnat Makes a Photoarama

will appear in the March number of Motion Picture Magazine.

The first of the series, "The Easiest Way," appears in this
number, and each subsequent number of this magazine will carry
similar articles giving advanced ideas and sound advice on scenario
writing. They should be read by all who have ideas they would
like to sell.

The Purpose or This Series

is to enable the readers of this magazine to write stories and
scenarios that will sell for photoplays.

Constructive criticism of stories sent in to Emerson and Loos
will be given without cost.

The names of the scenarioists are familiar everywhere. They
produced the photoplays that made Douglas Fairbanks famous,
and are now writing for other famous stars.

Learn how to make your big ideas salable by reading their
articles in

MOTION PICTURE MAGAZINE

OK HOtC

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107

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rid of dandruff, for it will starve your hair
and ruin it if you don't.

The best way to get rid of dandruff is to
dissolve it. To do this, just apply a little
Liquid Arvon at night before retiring; use
enough to moisten the scalp, and rub it in
gently with the finger tips.

By morning, most, if not all, of your
dandruff will be gone, and three or four
more applications should completely remove
every sign and trace of it.

You will find, too, that all itching of the
scalp will stop, and your hair will look and
feel a hundred times better. You can get
Liquid Arvon at any drug store. A four-
ounce bottle is usually all that is needed.
The R. L. Watkins Co., Cleveland, Ohio.

WRITE A SONG POEM

YOU CAN DO IT, EXPERIENCE NOT NECESSARY

Write two verses and chorus about Love, Mother, Home, Childhood, Patriotic,
Great Events, Comic or any subject and SEND WORDS TO ME AT ONCE.
I compose music and guarantee publication.

EDWARD TRENT, 629 Reaper Block, CHICAGO

108

The Movie on the Briny
Deep

(Continued from page 68)

house" in the evening, making a chain of
theaters that encircles the world.

25,000 reels or a reel for every mile of
the earth's circumference! That is the
capacity of the Navy 'exchange. These
pictures are shown to sailor audiences only,
no civilians allowed.

And did you know that our admirals are
ardent movie "fans"? Admirals Harry B.
Wilson, in command of the Atlantic Fleet,
Hugh Rodman, of the Pacific, and Albert
Gleaves, of the Asiatic, attend the evening
shows regularly, and are much concerned
over the business of getting the best re-
leases. Admiral Wilson is a regular caller
at the Navy Film Exchange ; Admiral Rod-
man has posed for the camera on many
occasions, and Admiral Gleaves used the
pictures in connection with his work while
he was commander of the Cruiser and
Transport Force, sometimes referred to as
the "Bridge of France." Many lessons in
combating the submarine were depicted at
his headquarters for the edification of ship
commanders. He even sent cameramen to
sea to "get" the actions of the submarines
and their tactics used against our trans-
ports.

Later, a Pacific Fleet Exchange will be
built at San Francisco and one to supply
the Asiatic Fleet will be located at Manila,
P. I., headquarters remaining at the New
York exchange where all selections of films
are made.

One of the nicest things about it is that
the men know they are getting the best
pictures and getting them first. Some
sailors on leave at Callao and Lima noticed
productions being advertised as entirely
new, tho they had seen the production on
their own ship nearly a month before.

The managers of the large producing
companies show great interest in the Navy
exchange. One of them says :

"The boys deserve the best we can give
them and I want to see that they get it."

"We are bending every effort to give you
the best that can be produced, and we know
we are producing the best ; so you are really
getting the best on the market," says an-
other wise manager.

The Navy exchange is equipped with two
separate projection rooms containing two
each of the latest and best movie machines.
These rooms are fire-proof and fitted up
like real theaters, with rest rooms for the
sailors from the ships who happen in to see
the shows. Of course, the player piano and
victrola are present.

Two thousand reels are kept ready to be
dispatched immediately to any part of the
world. Each release, a roll of celluloid,
starts its adventure from the Navy ex-
change and sails the wild seas over and re-
turns not until it has unrolled its wonders
before hundreds, bringing enjoyment,
laughter, maybe tears. After it returns
from its travel of thousands of miles, it
is put into first-class conditions by experts.
For there is a school in connection with the
exchange where the navalmen are taught
the fine points of the motion picture busi-
ness.

"Spud" Murphy, chief boatswain's mate,
has charge of the shipping department of
the Navy exchange and takes a deep in-
terest in the boys who are far away. This
is because "Spud," himself, had served
several years on foreign stations and, in-
cidentally, in the Asiatic and mid-Pacific
islands. So, thinking he would slip the boys
out there a word of cheer, he penned a little
note and slipped it into one of the metal
containers with the films. It read :

"I served some years on that station and
can appreciate the isolated position of you
bo3'S out there. When the exchange here
can contribute to your desires, we are only
too glad to serve you. This picture is a
dandy, and one of our very latest releases."

Two months later he received the follow-
ing surprising note :

"'Thanks, very much, Spud, ole boy, but
dont cry your little eyes out about us. Since
the exchange has been established, we have
received our supply of movie films, brought
by transports from San Francisco, also by
naval vessels coming to the Orient. Things
have changed out here. Spud.

When the land lubber sits on a gilded
palace of pleasure in the evening and enjoys
a photoplay, he needn't feel superior to that
sailor boy friend of his who is in some far
away port, for perhaps that boy has already
seen the same show which he is seeing as a
perfectly new production.

When a ship anchors in a foreign harbor,
a movie show is the first thing in the line
of recreation. Of course, numerous small
boats come out from the shore to see the
ship and as soon as they get wise that shows
are being held on board, the ship becomes
a queen bee in the swarming midst of
hundreds of small craft. The gorgeous
productions, the dazzling array of scenic
effects and the wonderful acting enraptures
them. Wherever they go American pic-
tures captivate the world.

Flapper Fair

{Continued from page 61)

stage, he did not have to acquire the spirit
of the thing— he had it — and we all became
imbued with it. He is an artist in every
sense of the word and his personality is so
inspiring he makes one feel that if he works
long enough and hard enough, he may in
course of time do some worth while thing."

"And what is your specific ambition?"

"Well," again reflecting, "altho I'm not
very old in years I feel that I have served
my apprenticeship in the smaller things and
I want to do some outstanding thing — to
really create something. Of course, ex-
treme youth cannot give the great in any
form of art except in very unusual cases.
If there has been an early and full develop-
ment. If suffering, perhaps, has pushed us
ahead to comprehension. I have not had
that, fortunately. But my life of constant
change and varied experiences has helped
my development — made me seem older.

"Another specific ambition," she con-
tinued, "is to make enough money so that
mother and I can go abroad, to Italy pre-
ferably, and continue my musical studies.
I am curious to know if my voice is what
my teachers have assured me it is. It would
be quite wonderful to sing in opera — but,
some way, I have an idea that I'd be coming
back to pictures — or the stage.

"But my present and very powerful am-
bition," she confided, impatiently tapping
the polished floor with the tip of one slender
foot, "is to get back to the Coast and get
busy choosing furniture for the home we
are going to have — and the first we ever
had, I might add. I can hardly wait. The
first thing I buy will be a phonograph — and
the next thing I do will be to invite all my
friends for a party and dance my head off !
I adore to dance and never tire."

Gone, for the time being, was the sweetly
serious mood, the would-be dignity, the
burning ambition to become at once an art-
ist of opera or screen. She had relapsed
into a jolly, normal, regular girl. It is
hard to decide in which role she is most
lovable — but we think we like best her
spirit of girlishness, unspoiled and sweet —
just Flapper Fair.

^ES^S*

No More

Has The American Woman An Excuse For

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Pimples, Blackheads Or;
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T.TELEN Clare's famous quotation,
AX, "Wrinkles are the footprints of
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You will see no Blackheads, no
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T-JELEN Clare's methods are per-
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Her results are attested by thousands
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I have done for others I will gladly do
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heads, Superfluous Hair, let me bring
to you Beautiful Complexion, Beau-
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T TAKE credit to myself for my own
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come the opportunity to help any wom-
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own Beauty Book tell its own story.

Here are some of the chapters iu the Free Beauty Book
How to remove dark circles under the How to remove wrinkles.

XJELEN CLARE'S friends call her
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eyes.
How to remove double chin.
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How to darken gray hair and stop hair

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How to remove blackheads, pimples and

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Send today for Free Beauty Book to

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/*: HELEN CLARE, Suite jy 22, ,3311 S. Michigan Avenue, Chicago, 111.

The PHOTOPLAYWRIGHT'S PRIMER

By L. Case Russell

Do you think you can write "as good" stories as you see on the
screen? You can write them 100% better. Master the technique
of photoplay writing so simply presented in this little book. A
child can understand it. Send 50 cents in stamps.

BREWSTER PUBLICATIONS, Inc.

175 Duffield St., Brooklyn, N. Y.

You Can Get Into the Movies
ZfYouWantTo

Maybe you are all ready now, but dont know exactly
how to go about it, or maybe there are a few technicalities
unfinished or overlooked; or possibly there is a whole lot
you dont know and need to know.

In any case, we are in a position to offer you sound sug-
gestions. Cut out the coupon below, and enclose 5c for
postage for our booklet
"CAN I GET INTO THE
MOVIES?" Then you
judge !

National Motion Picture Institute

1 75 Duffield3treet Brooklyn, N. Y.

THE NATIONAL MOTION PICTURE INSTITUTE
175 Duffield Street, Brooklyn, N. Y.

Please send me a copy of your booklet, "Who
Can and Who Cannot Get Into the Pictures and
Why?" Enclosed is 5 cents in stamps for mailing.

Name

109

PA6

I ^aiitifiriiiiicaiiiiiiiiini»jtLiiiiiiiiiEaiiiiiiiiiiiic3iiiiiiiiiiiicaiiiiiiiJiinc2tiiiiiiiiiiiEaiiii]tiiiiiic3iiiiiiiiiiiir3iiiiLiiujuiX3iiiiiiiiiiiic3iiiiiiiiiiiTC3itiiiiiiiiifc:^>

Portraits of Your
Favorites

TWENTY-FOUR LEADING PLAYERS |

What is a home without pictures, especially of those one likes or |

admires? How they brighten up bare walls and lend a touch of human §

| sympathy, alike to the homes of the rich and poor! |

And what could better serve the purpose of decoration for the |

| homes of motion picture enthusiasts than portraits of the great film |

I stars, who have become world-wide famous? §

The publishers of the three leading motion picture monthlies, the |

1 Motion Picture Magazine, Motion Picture Classic and Shad- |

l owland have accordingly prepared at great expense, especially for 1

I their subscribers, an unusually fine set of portraits of twenty-four of §

| the leading players. |

I These portraits are 5*/2"x8" in size, just right for framing, printed 1

| in rich brown tones by rotogravure, a process especially adapted to por- §

| trait reproductions, and are artistic, accurate and high-grade in every j|

I way. |

* You will like these portraits, you will enjoy picking out your $

| favorites. You will delight in framing them to be hung where you ||

I and your friends may see them often. |

Mary Pickford
Marguerite Clark
Douglas Fairbanks
Charlie Chaplin
William S. Hart
Wallace Reid
Pearl White
Anita Stewart

LIST OF SUBJECTS

Theda Bara
Francis X. Bushman
Earle Williams
William Farnum
Charles Ray
Norma Talmadge
Constance Talmadge
Mary Miles Minter

Clara Kimball Young
Alice Joyce
Vivian Martin
Pauline Frederick
Billie Burke
Madge Kennedy
Elsie Ferguson
Tom Moore

These portraits are not for sale. They can be secured only by sub-
scribing to the Motion Picture Magazine, Motion Picture
Classic or Shadowland for one year, and then they will be sent free.

You will want the Magazine, Classic, Shadowland or all
^hree during the coming year. Subscribe now and get a set of these por-
traits. It will cost you less than to buy them by the month at your
dealer's. Send in your order to-day and we will mail the portraits
at once.

COUPON

| SUBSCRIPTION PRICES:

U. S. Can. For.
Magazine $2.50 $3.00 $3.50
Classic 3.00 3.50 4.00

Shadowland 3.50 4.00 4.50
All Three 8.50 10.00 11.60

Payable in
United States Funds

Date

BREWSTER PUBLICATIONS, INC.

- 175 Duffield Street, Brooklyn, N. Y.

Gentlemen : Kindly enter my subscription to the

MOTION PICTURE MAGAZINE)

MOTION PICTURE CLASSIC } for one year. Also

SHADOWLAND *

please send me at once a set of the twenty-four players'

portraits. Enclosed find $ in payment.

Name

Address.

»:-*3lilllllllPIIC3lillirilIIIICailIlllllllllC3lllirtllll]IC3EIIIIllllllir31lllllllllllEL3llllllllllllC31IIIIIIlllllEaittllIllllltC2lttllllIIIIlC31IIIII]lllllC31llllllllllIC31]|llllltlllC<

110

Afi£

A New Heroine for Barrie

(Cotiti7iued from page 71)

And so they tease . . . And Lois smiles . . .
quietly . . .

Universal, Paralta, Lasky she joined in
quick succession. Lasky got her when she
had found herself and so she has remained
with them. Of her pictures — "I have done
everything!" she sighed — it is sufficient to
mention "It Pays to Advertise," "The City
of Masks," "What's Your Hurry?" and
"Midsummer Madness."

"After 'Midsummer Madness,' Barrie is
like a clean Seabreeze." She shuddered a
little. "It was super-sexy!"

Conrad Nagel, who is to play with her
for the coming year, stood not far off,
hands pocketed nonchalantly, but his gaze
ever and anon seeking Lois. If he caught
her eye, a little half smile would flit across
his face.

"He is the worst tease of all," she con-
fided. "But I think that, after all, tho he
keeps it more concealed than I, he, too,
takes his work very seriously."

She called him over. He was very agree-
able, youthful in spite of himself in his
denunciation of a certain author of best-
sellers and the frankness of his admiration
for Arthur Hopkins, the producer.

His goal is the stage.

'At the end of the year," he said, "Lois
and I are going on the stage and do 'Romeo
and Juliet,' eh, Lois?"

She was wistful.

"If I only could! But my contract . . .
for five years !"

Perhaps the happiest recollection of Lois'
picture career is the two months which she
recently spent in her "home town," Bir-
mingham, Alabama. She was caught up in
a happy riot of enthusiastic approval and
whirled thru two months of honorary din-
ners and personal appearances.

"They even sent for me to come to Mont-
gomery," she said. "That was the con-
clusive proof to me that I was a success.'
Montgomery is a deadly rival of Birming-
ham and, as I said, I'm from Birming-
ham !"

I left her finally, cheered that at last
perception was being used in casting for
Barrie. Maggie Shand will be well por-
trayed. Maude Adams would not, I think,
disapprove of Lois' words :

"I am glad I have not seen Miss Adams
in the role. I would inevitably imitate and
imitation means failure."

Innate goodness, an unworldliness that
does not premise ignorance . . . That is
Barrie . . . That is Lois . . .

MY SILENT LOVER

By Anna Hamilton Wood

I've never heard his low voice murmur
love

Or felt his kisses, but our souls unite
Beyond all fleeting sense of time or space,

And float, ethereal, in the starless night.

But, ah! his eyes have spoken when our

tongues
Stood dumb with waves of reticence

between;
And mine have answered, burning with

desire.

* * % % * +

My silent lover loves me from the
screen !

/TTJVlOTlON piCTURr

Inel I magazine r

■♦>3iii[iiiiiiiiC3MiniHi»inmiHiiii»[]iiiHiiimiC3imiiiiiiiiHiiiiiiiinncJ»>

— =

| Motion Picture ]

| Gassic !

for Feoruary j

|T\0 you remember how happy =

■*— you were when you found |

a four-leaf clover in the grass? :

Success!" cried that
and you danced with

| "Good luck!

| fourth leaf

j joy.

= The promises of the fourth leaf §

§ of the clover and how they have =

= been fulfilled in the lives of cinema C

= luminaries, directors and authors are =

H revealed in the February number of =

| Motion Picture Classic n

There is the English author, who s

3 wrote "Three Weeks" and many 5

= other stories of the aristocracy of s

| the old country: =

ELINOR GLYN |

= who expresses modern and advanced =

g ideas in an interview with Frederick \

= James Smith. s

Who is the most necessary person =

= in the making of : motion pictures? §

= is frequently asked, and has been 5

S frequently answered "The director." =

§ Three of these important men have |

= been interviewed and their stories S

5 appear in the February Classic j§

= They are Henry King, Frank Lloyd, =

the Goldwyn director, and Dick £

5 Jones, the comedy director. s

Lowell Sherman, winner of laurels =

5 as male vampire of the screen, gives =

= his views on love, marriage and =

E screen careers.

=' Harry Carey, famous for his por- =

3 trayal of Western roles, is inter- §

5 viewed by Maude Cheatham and |

| Rubye de Remer by Gladys Hall. §

= . Harriett Hammond, the Sennett 5

§ star, who has enjoyed the reputation S

S of being the most beautiful girl on |

| the screen, and Irene Marcellus, 9

famous beauty of the Zeigfeld Fol- =

S lies, are the subjects of delightful s

S personality stories for February 3

§ Classic e

= These celebrities have found the n

-\ four-leaf clovers of life and their E

= careers are blessed with success. 1

s: Perhaps you may find for yourself U

S the fourth clover leaf in the inspira- s

3 tion from their stories in =

§ me February number j
of 1

Motion Picture [
(classic

^MljljiiiiT«Miiiiiiiiiiniiiiiiiiiiiit]iiiiiiiimiuiiiiiiiiiiii[]iiiiiiiiiiiic»>

The Hoosier In Gotham

(Continued from page 69)

"What personal question are you asked
most frequently?" I asked, wondering if,
perhaps, I was voicing it.

He grinned and attacked his chicken
sandwich.

"Whether I'm in love with my leading
lady," he said. "I never have been yet, but
my interviewers always have hope. You
dont have time to fall in love with your
leading lady, least of all people."

"You think then, it takes time to fall in
love?" I asked.

Evidently he did, but he changed the
subject and started to tell me about Cecil B.
de Mille again. He had been endeavoring
to do this ever since he arrived, so I let him
continue. It seemed the wisest course.

"You cant do enough for a man like
him," Monte assured me. "He lets you
play a part the way you feel it. If he
didn't think you'd know how the fellow
would feel, he wouldn't have given you the
part. He's not the talking kind — but when
he comes along and puts his hand on your
shoulder, you know you've made good."

With maneuvering, I brought the con-
versation back to the original channel.

"I like to play regular, honest sorta folks
best," he told me. "I have it in my contract
that I'm to play that kind. I'm not fitted
for the other kind. You cant act natural
when you dont feel natural. I wasn't
brought up to the other sort of thing.
When I was a kid, I lived on an Indian
reservation part of the time."

I remembered his stature in the doorway
— I saw his high cheekbones in the shaded
light. He interrupted my thoughts.

"I'm part Indian," he said. "Once when
we went on location to an Indian village,
the natives watched me carefully for a
time — you see I was in Indian make-up and
they couldn't be sure that any of their blood
• ran in my veins — but when I talked with
them they took me into their teepee and
made me welcome. They are real human
beings among themselves — they play — they
laugh. But when an outsider comes to their
midst they sit back reticent — go into their
shell. They do not trust the white man.
He has robbed them of their hunting
ground and given them nothing in return.

Most of his leisure time is spent with
books. He feels that the day of the di-
rector is coming with the stories which
deal with human nature and he wants to be
ready then to take up the megaphone— only
he says he wouldn't use a megaphone be-
cause the best results are obtained by talk-
ing things over beforehand- and then letting
the players play their own scenes.

"My friends tell me that I am ambitious
in my plans," he smiled, "but I chose the
movies as my job and I want to make good.
I want to help in making them more than
the fifth industry — they are an art. Once
upon a time every picture you saw was
filled with blood and thunder. No more.
Human interest is paramount in the picture
today. Tomorrow will find it more import-
ant and so on. I am studying so I will be
ready when I quit acting to go on. You
see? : I like the movies. I'm not going to
change my job."

I asked him, as he was leaving, if he was
coming to New York again.

"Yes, to visit," he said quietly, "never,
I hope, for always. You fly here and there
. — you do not take time to live."

Such. was the Hoosier in Gotham — the
Hoosier keeping faith with his ideals ; his
blood touched with the blood of the first
Americans who found their poetry in the
forest and the stream.

And the Hoosier who came to Gotham
finds his there still.

IT'S IIP TO YOU

To Make a Real Man
off Yourself

Strength lies
dormant with=
in us all. It is
the man with
ambition who
develops this
strength and
makes himself
a power among
his fellows. I
don't care how
weak or ema=
ciated you are
—by taking
proper exer=
cise and care,
you can de=
velop into A
MODERN
HERCULES.
All you need
is the desire
and the deter=
mination that
you will suc=
ceed — and then
the world lies
before you.
WHAT DO
YOU SAY?
IT'S UP TO
YOU. SUC=
CESS OR
FAILURE.

One Inch a
Month

That's what I
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that ' s not all.
You keep going,
broaden

Latest photograph of

EAELE E. LIEDERMAN

Taken Oct. 10, 1920.

Your j'lest Alls out, your shoulders
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The Man Who Knows

Tex O'Rourke is one of the best authorities on phy-
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known throughout the country as one of the strongest
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Come Then — Let's Get Busy

I've got it. It's yours for the asking. Don't hesi-
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Send for My New Book

"MUSCULAR DEVELOPMENT"

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It tells the secret, and is handsomely illustrated
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Sit right down now and. fill in the coupon. The soon-
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drag along one day longer — mail the coupon today.

EARLE E.LIEDERMAN

Dept. 302, 305 Broadway, New York

EARLE E. LIEDERMAN

Dept. 302, 305 Broadway, New York City

Dear Sir: — I enclose herewith 10 cents, for which you are
to send me, without any obligation on my part whatever,
a copy of your latest book, "Muscular Development."
(Please write or print plainly.)

Name

Address

City State

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112

The Answer Man

(Continued from page 88)

Expectants. — That was a stolen film,
but they never caught the thief. The way
of the transgressor is hard — to find out.
No, Norma Talmadge is not a Jewess.
Anita Booth comes from Reading, Pa.
Viola Dana is 22. Bebe Daniels is not
married. Oh, well, I am not quite so happy
as I desire, but perhaps I am not so
wretched as I deserve.

Dorald G. Mc. — Who is the oldest screen
actor — let me see, I should say Walt Whit-
man, who played with Olive Thomas in
"Darling Mine." Well, s ° l° n & a s our
hearts possess desire, our minds will foster
delusions. When in love, you never see
one's faults.

Animore. — Your letter was a cuckoo.
Antrim Short is about 19 and Pearl White
about 33. Viola Dana in "Cinderella's
Twin." No, Doris May and Douglas Mc-
Lean are not married to each other. Doris
May is not married, but Douglas McLean
is. A chip of the old block is often a block-
head, but E. H. Sothern is a rare exception.
Yes, and remember that everybody knows
something that you dont.
• Dizzy Dumb Sister. — Thanks for the
gum. I'm going to open up a gum shop
next. So you advise me to have a hair
mattress made of my beard. Why do that?
I sleep on my beard now. No, I dont dance
now, I used to. Have no fear, I never
make fun of my readers. They are my
daily bread, only I dont choose to eat them.

Chum. — I have never been in love yet. I
have taken particular pains not to, because
I fear that if I fell into a woman's arms I
would fall into her hands — and I love my
liberty too much for that. No, the Gish
girls are just sisters and not twins. Ken-
neth Harlan is playing opposite Constance
Talmadge. Run in again some time.

M. A. W., Alaska.— Well, "The Eagle's
Eye" was directed by William Flynn, and
King Baggot and Marguerite Snow had
the leads. It was released some time in
February, 1918. The only way to please
God is to follow the inclinations of our
nature. Write me any time.

Buff — Law. — The way you begin your
letter swept me right off my feet on account
of its originality. You have so disturbed
my equilibrium that I am repeating a part
of your letter. "Take off your whiskers,
we all know you ! You're about 35, slender,
wear a petite mustache over your lip. You
think, Caruso, Theda Bara and You, ought
to go into the Hall of Fame." That will
do. Looky here, you. You've said enough.

Ira Korn. — No, I am not a diet, thank
you, I'm perfectly healthy. I can eat al-
most anything. Herbert Rawlison played
the part of Van Wheydan in "The Sea
Wolf."

Fluff. — Thanks for the gum. You can
reach Bebe Daniels and Wanda Hawley at
Realart, Hollywood, Cal. Lew Cody is not
married just now. Emory Johnson married
to Ella Hall, and Conrad Nagel is married.
Is that all?

Hempstead. — If indeed we cannot be
happy, the fault is generally in ourselves.
Socrates lived under the Thirty Tyrants.
Epictetus was a poor slave, and yet how
much we owe to him. Viola Dana and
Gareth Hughes had the leads in "A Chorus
Girl's Romance."

aJiMMiE. — Well, I enjoyed every bit of
your sparkling letter. As La Rochefou-
cauld would say, the greatest aft of an
able man is to know how to conceal his
ability. Why, Irving Cummings ' is 32.
Gaston Glass about 25. No city produces
newspapers in so many different languages
as New York.

Peggy II. — Wilda Bennett is playing in
California now. Maurice Costello has been
engaged for the part of Carson, the Scot-
land Yard Chief, in "Determination."

Esther F. — I find that a little knowledge
is a noisy thing, and that many unimportant
persons with immature ideas make a big
fuss over nothing. Oh yes, there are a lot of
Rothschilds in New York. The name, Roth-
schild, so famous in finance, signifies in
German, "Red Shield," and is taken from
the sign of a shop in the Jewish quarter of
Frankfort, where the foundations of the
family fortunes were laid.

Miss Whitney. — Well, really, Antonio
Moreno is 32 years old. You just write to
me whenever you feel like it. I dont mind.

Talmadge Admirer; . Wm. Pike Ad-
mirer; T. A. D. ; Purple Astor; Lovely
Doris; Paddy M. ; Bonnie Bee; Ura
Nut; You Got 'em; Ruth Roland Ad-
mirer; Ampa P.; Sky Blue Pink Eyes;
J. W. W.; Main 3468 W.; U. R. A. Nut;
F. W. J.; Dot; Laura M. ; Butterfly;
Critical Schoolmarm ; Peter Pan ;
Thelma Maybe So; D. K. ; Mabel-Dal-
las; Kenneth Harlan Admirer; Grand-
daughter; Miss X. — Thanks for your
kind letters, and I hope you all write me
again. Nothing now and then, so I have
nothing new to say.

Poppy Girl.— No, girlie, I have no dar-
ling wife, and no other kind, so write me
often. Well, then, too, some men remain
bachelors because they are unable to
choose between beauty and intellect. As
for. me, give me the former or give me
death. Mary Miles Minter and Jack Holt
are playing in "All Souls Eve."

Josephine W. — Why dont you send a
stamped addressed envelope for a list of
the correspondence clubs?

Hayakawa Fan. — Gaston Glass, : in
"Cameron of the Royal Mounted." Most
of our large theaters have a pipe organ.
Paris has the only exclusively women's
theater in the world. Thanks for the in-
vitation.

Doss. — All is not good that is written —
sometimes it's wrotten. You know I can-
not shine all the time — -even the sun cant
do that. Yes, I am bald, but I never got
it that way. Premature baldness is blamed
by a Paris doctor on some trouble with
the teeth. He must be wrong, for my
tusks are 99 per cent.

Greenup.- 1 — I'm satisfied with the elec-
tion. How could I be otherwise? I bet
heavy that either Cox or Harding would
be elected, and you see I was a prophet.
William Henry Harrison had the shortest
term of any American President. He
caught cold on inauguration day and died
one month later. H. B. Warner, in "The
Checked Suit." So you miss the Sage in
Shadowland. He is producing pictures
now and has no time for literature.

Bab. — Great stuff, your letter. Why,
yes ; I have heard, too, that the former
German Kaiser attributes the loss of his
throne to the fact that an ill-omened dia-
mond, stated by tradition to have been
given by King Solomon to the Queen of
Sheba, was incorporated in the Prussian
royal regalia. No, I dont believe it at all.
Charles Ray is playing with Laura La
Plante, who played in the "Bringing Up
Father" series.

Kitty. — Of course, I am an American,
Kitty. Born right here in New York
State. Also grew this crop of fine blue-
grass whiskers right here in New York
State. Draw my salary of $9.50 per right
here in New York State.

(Continued on page 115)

LAGC

CM t S!&S!S UP B

Black Beauty

(Continued from page 37)

in the carriage. If I hadn't been a thoro-
bred, I should have kicked at doing, menial
service, but it turned out I was very much
needed. For whom should I rind tied to the
stanchion beside me but Jack Beckett's
grey ! .

"You see," sneered this common creature,
stamping with triumph, "your fine grand-
father hasn't helped you ! A carriage horse,
forsooth! It will be a cart horse next,
and last of all perhaps you will be sold for
glue. And some others who haven't a
pedigree will pass you on the road."

I swallowed the insult for Miss Jessie's
sake. "What is your master doing here?"
I asked the grey, civilly, "he's been abroad
for some time, has he not?"

"Yes, in Paris," said the grey with a
wink. "And the things I could tell. We
led a gay life, let me tell you — and I carried
him to many a pretty woman's door, but
it's hard to make a decent race on an empty
stomach, and so we've come back to the
pasture."

"Oh, yes," I said carelessly, "I believe I
did understand that Miss Jessie was going
to marry your master next year."

"Next year !" snickered the grey, "to-
night! In an hour's time at the Cheshire
Inn. You wait and you'll see I'm not lying.
He has a way with him, my master !"

And sure enough in a moment out comes
Mr. Mustache and my Mistress, he very
gallant and smiling a wicked, glittering
smile, she in her everyday frock, which
shows that it must have been all arranged
beforehand, and very pale and quiet. She
wanted to stop by me, but he pulled her on
and into the buggy he had brought, and, in
a moment, before I could decide what to
do they were gone.

It was a moment's work to untie the knot
that held me with my teeth. But I did not
follow the elopers. I went straight to the
Vicarage and whinnied outside until Harry
left his law books and came out to see
what was wrong.

"If you ever want to marry Jessie Gor-
don you'll have to hurry !" I told him,
"Dont stop to argue ! Get on my back and
I'll take you to her."

And for a wonder, Harry didn't offer me
an apple or say I was feeling my oats, but
seemed to understand every word I said.
With him on my back, I galloped for the
Inn and arrived in time to see Jack Beckett
and my mistress going in.

"The scoundrel !" I heard Harry mutter
as he slid down, then he called a stable boy
and gave him my reins. "Squire Gordon
is at the Wynwaring Ball !" he said, like
the prick of a spur in the flesh, "find him
and tell him to come to the Inn at once !"

Of what happened while I raced thru the
night and brought the burly Squire, panting
and puffing to bring his daughter home I
can only tell what I heard afterward. But
this I know. The secret bond that was
between that rascal and Jessie Gordon held
fast thru the storm, and my mistress looked
Harry first and her father afterward full
in the face and swore that she was marry-
ing Beckett with her full consent and be-
cause she loved him.

I can picture the scene in the upper hall-
way of the Inn, with Beckett standing at
the door of the .private parlor where he had
the minister waiting, his beautiful mustache
all twisted and awry with malice while
Harry pleaded with Jessie, poured out all
his pitiful boy-heart before her, and she
leaning against the door of the room where
she had left her hat and cloak, with her
suffering eyes and the gallant lying tongue
that denied her heart.

At any rate, thanks to me, the marriage

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114

did not come off then. The Squire dragged
Jessie home, threatening to horsewhip
Beckett if he found him writing his girl,
or trying to see her.

"Next year," was all that Handsome Jack
answered, bowing from the waist, "the
young lady will have the right to choose.
Then I shall return."

"Next year," said Jessie, very clearly
but looking at him with a look that was
more of hate than of loving if a horse
knows anything about such things, "I shall
marry you — if you still wish."

That was in August. In September the
Squire took his family to the Continent,
and in October a drunken groom threw me
in the paddock and twisted my knee. The
year that I spent in London, dating from
the day that I was sold at a horse auction
and bought cheaply, because of my knee,
for a cab- horse, is my own story and not
Jessie Gordon's. In my humble position I
was tempted to bang my head between my
knees dejectedly like all my fellow cab-
horses, but I remembered my grandfather
and held it high s<5 that people stopped on
the street to look after us, tho the vehicle
I drew was decrepit and the cabbie dingy
and unkind. It was this pride even in
despair that saved me at last, for Harry
Bloomfield saw me on the Strand and
recognized me. For the sake of Jessie he
bought me and took me home to the green
pastures I knew when I was a colt; care
and feeding gave me back my glossy coat,
tho my knee was still stiff, and I limped a
little.

"Black Beauty," Harry said one day,
with his face all drawn and knotted like a
jockey's at the close of a race, "we're going
to Birtwick Hall, old fellow. There's to
be a wedding there tomorrow, and you are
a present for the bride."

And then I knew that Jessie Gordon was
coming home to keep the old pledge she
had made. No one -noticed us as we came
up the lane to the Hall. There were deco-
rators everywhere putting up stiff sheaves
of foolish flowers, and house maids dusting,
and upholsterers' men, and caterers and
tradespeople rushing about. Even the
stables were deserted while the grooms
helped set up a trimphal archway «of ever-
greens in the great Hall.

As Harry was fastening my halter in my
old stall, we heard voices coming nearer
and finally entering the stables. "A good
job, Derby," said Beckett, like the swish of
a whip lash. "Is Lightning all saddled
ready to go to the train?"

"Yes, me Jolly Bridegroom!" squeaked
the Ghost, "an' now, afore the knot is tied
I wants to come to terms. Wots my share,
eh ? Come ! None o' your lies now ! I
knows 'ow yer planted that eight "hunnerd
punds on George Gordon's body. I seen
yer thro the bushes. An' wot's more I
knows w'y she's marryin' yer and it isn't
becbs o' yer bloomin' beauty neither — "

"Hush, you fool !" Beckett cried, but the
other went on doggedly while Harry held
his hand over my nose to keep me still.

"She's marryin' yer becos o' the pyper I
got her to sign promising to do it if you
wouldn't tell her father and mother about
George bein' a thief !"

"So !" swore Beckett in white rage, with
a voice like the grate of horse shoes on
gravel, "so you're a turncoat ! Well, I'll
not be bled, my man ! Wag your tongue
all you want. It'll be too late to hurt me !
I'll meet Jessie at the station and marry
her within ten minutes ! There isn't a horse
in the country that can beat Lightning !"

And so saying he ran out of the stable ;
and a moment later we heard the plop-plop
of hoofs going down the lane. Harry had
unloosed me and leaped to my back. Now
he leaned down and whispered in my ear as

a jockey does sometimes in a close race.
"Black Beauty ! You love her— save her !
It's her only chance! Forget your lame
knee and run as you used to run!"

If I live to be thirty, I shall never forget
that night, nor the pain of my injured knee
as I galloped across country to cut down
the miles. With each step I thought I
should fall, yet I kept on. We reached the
station two minutes before Lightning and
Beckett, and just as Jessie Gordon, lovelier
than she had ever been'before, stepped down
from the London express. You can do a
deal with two minutes but I'll wager a
bushel of oats that no man ever made better
use of them than Harry Bloomfield, and
when Mr. Jack drew rein alongside the
platform and saw them standing hand in
hand, unmindful of the whole world, and
knew by the look of their faces that his
game was up, he turned his horse's head
without a word and rode into the dark.
And he never rode out of it again so far
as we were concerned. Two years later
his horse fell on him in a ditch of muddy
water and a farrier found 'em there, both
dead the next morning. Blood will tell
in men and horses, no matter how well-
groomed you are.

There was a wedding next day at the
Hall but with a different bridegroom. Ten
years ago, that was, but my mistress and
her husband are still lovers. I saw them
last night at the dance, standing ini a French
window while she pretended to pat her hair
so that they could steal a kiss. They looked
down and caught me looking and laughed
sheepishly and joyfully like young lovers
discovered love-making. She threw me a
kiss before they danced off again, but I
think he winked at me. They know they
cant keep Black Beauty out of their, af-
fairs.

My racing days are over since that wild
ride thru the darkness long ago. But, after
all, there are better things than running
races. This afternoon I took nine-year old
Harry and six-year old Jessie for a ride
about the pasture. The wind was in our
faces and the world was green with June.
Yes, there are better things . . .

What's Wkat in Scenarios

(Continued from page 39)

Moon," "Down To Earth," "Wild and
Woolly," and so forth. Afterwards they
wrote several photoplays for Famous Play-
ers-Lasky stars and finally took up their
present post as writers for Constance Tal-
madge. During the last year they have
written "A Temperamental Wife," "The
Virtuous Vamp," "In Search of a Sinner,"
"The Love Expert," "The Perfect Wom-
an," "Dangerous Business" and "Mama's
Affair" for Constance Talmadge; and in
addition, Miss Loos wrote "The Branded
Woman" for Norma Talmadge.

Since Miss Loos still clings to the name
she made famous, not everyone knows that
the collaborators were quietly married one
year ago. Also, comparatively few motion
picture fans know that Mr. Emerson is
president of the Actors Equity Association,
the actors "union" which won the strike
against the managers thruout the United
States and Canada, a year ago. During
the last summer, the collaborators toured
Europe, searching for new material for the
Talmadge studios, and many new sugges-
tions on scenario writing, gleaned from the
Continental studio, will be incorporated in
their articles.

This series will be written from a prac-
tical standpoint, rather than as a discussion
of artists' values or motion picture meta-
(Continued on page 116)

LaG£

The Answer Man

(Continued from page 112)

Novel Sisters. — Whoopee ! Xothing
dead about Wallace Reid, or Julian El-
tinge. As Mark Twain said, reports are
very much exaggerated. They are both
very much alive. Why, Hobart Bosworth
and Anna Q. Nilsson are playing in "The
Brute Master."

Marie A. M. — There is no such thing
as a '"bolt" in a storm, nor can anything be
"struck" by lightning. During a thunder-
storm a stress is thrown on the air, either
between two clouds or between a cloud and
the earth, and when this stress reaches a
certain pressure, the air is cracked. It
causes heat so intense that the air par-
ticles become incandescent, and we see
this streak of light along the crack and
call it lightning. Zazu Pitts and Helen J.
Eddy are not the same.

A Wisher of Censorship Reform. — I
agree with you on some pictures, but I
am opposed to the censorship principle.
Pedro de Cordoba has played on the
stage as well as the screen. I understand
there are about 12,000 lepers in the Phil-
ippines. Tom Moore is playing in "Lend
Me Your Wife."

Suzanne S. S. — So you are having an
affaire d' am our. Mum's the word. Best
wishes to you. A bachelor seeks a wife
to avoid solitude ; a married man seeks
society to avoid the tete-a-tete. Why,
Margarita Fisher is playing in "The Game-
sters."

Allison B. — It would take half of this
book to give you all of those addresses.
Have a heart!

Antonio de. — It was Victor Hugo who
said, "God took his softest clay and his
purest colors, and made a fragile jewel,
mysterious and caressing — the finger of
woman; then he fell asleep. The devil
awoke, and at the end of that rosy finger
put — a nail." No, I wont have a birthday
until January.

G. K. — So you are a devoted lover of
Mme. Olga Petrova, and you would like
to read more about her. She is now in
vaudeville in the West.

Bumble Bee. — You will read all about
Corliss Palmer soon. They now call her
the most beautiful girl in America.

Sweet Sixteen. — Nunc pro tunc means
"now for then." A phrase used to express
that a thing is done at one time which
should have been done at another. Lina
Cavalieri is playing in "Mad Love."

Anna H. — Yes, but in ill-matched mar-
riages the fault is less the woman's than
the man's, as the choice depends on her
the least. Rockcliffe Fellowes plays the
physician in "An Honorable Gentleman."

N. C. Apple and Ga. Peach. — Well, a
woman laughs when she can, and weeps
when she will. Once in a while I stop
over at the Commodore or Biltmore hotels
in New York. It's a diversion from my
hall room. I eat a thirty-cent lunch across
the street, and pick my teeth in the hotel
lobby. One of the largest New York ho-
tels supplies each of its guests, who aver-
age 2,000 a day, with a free copy of a
morning newspaper. That is hospitality
for you. (Or is it advertising?)

Golden Butterfly, Mildred S., Nim-
rod, Elizabeth R. — Nothing doing this
time. Run in again.

Jackie. — I am repeating this for you,
Jackie. The best thing to give your op-
ponent is tolerance ; to your enemy, in-
difference ; to your superiors, respect ; to
your friends, friendship ; to your children,
good example ; to your father, deference ;
to your mother, conduct that will make
her proud of you ; to your wife, attention,
(Continued on page 117)

To Please One Woman

IhOM mac*z((ctUR[\

(Continued

The next day the complicated tensions
rose to their apex.

Dr. Jim had promised Alice to go to
the Sunday-school picnic with her. It was
their first day together since . . . well,
anyway, since the opening of Mystery
House. Alice had counted on it. She
knew Jim was right, but it was hard to
bake and stew and wear gingham and
know that the man one loved was bending
over the couch of some ethereal creature
of white witchery. It hurt . . . Sometimes,
curiously, she felt like a bird she had
come across one morning on their lawn
... a bird with a drooped and trailing
wing and a broken heart. She knew its
heart was broken because it complained
with odd, soft cries.

The morning of the picnic Jim appeared.
Bobbie was feverish and ill, and had been
so all night, and she begged him to look
at the boy before they started for the
Grove, five miles away.

He looked grave after the examination.
"Bobbie, dont get up," he warned the child,
"and take this stuff every hour, and I think
you'll be fit as a fiddle by night. He's got
to be careful," he warned Alice . . .

"Should we go . . . should we leave
him?" she asked.

"Oh, yes ; that's safe. He should have
rest and quiet first and foremost. He'll
obey orders, wont you, Bobs?"

The sick child nodded. He felt too hot
and distressed to have the initiative of re-
bellion, even had he felt inclined.

Cecilia had backed out at the last mo-
ment. That worried Alice, too. The child
had been hanging around Lucien Wain-
wright with absurd persistency. Her eyes
had looked haunted, too. She was taking
her infatuation seriously. As Wainwright
appeared perfectly unaware of her, Dad
and Alice had decided she was safe.

Still, it wasn't auspicious . . . the open-
ing of the day.

Jim seemed abstracted. Alice was white
and delicate, and he felt a brute, and it
annoyed him that he did. Then, too, in
every winey breeze the indefinable per-
fume of the Mystery House caressed him.
What a day ! What was she doing . . .
the languorous woman ? What did he
care? Ah, but he did ... or he wondered.
Was there much difference . . . caring
. . . and wondering? Had he become a
cynic? One of those involved neurotics
in whose disordered brains meanings were
always slurred and blended, one into an-
other . . . This girl who was to be his
wife . . . she was simple, she was good,
she was sweet ... he was content. Had
Man ever been content? Polygamy . . .
what a term, what an ugly term . . . !
He turned to Alice and met her eyes. He
smiled and took her hand . . . what was
the other woman doing?

Events precipitate themselves . . . like
thoughts, they are disordered and
blurred . . .

The picnic lunch was midway when
Bobbie . . . Bobbie arrived on his wheel
. . . his face was scarlet and his voice
was strident. He yelled in cracked ac-
cents to Dr. Jim that the lady at the Mys-
tery House was dyin', and that he had
got to go . . . she called up and said some
one had GOT to get you, the boy ex-
plained, and then he collapsed against
Alice, whose distended eyes were upon
his small, unnatural face. Somehow she
got him home . . . dimly she knew that
Jim, her Jim, had gone ... to the Mys-
tery House, after the most cursory direc-
tions for the care of Bobbie. There was

from page 67)

too much to be done for Bobbie. He
terribly low. Her own hurt must wait.f «

At midnight Bobbie died. She haG,
been able to reach Dr. Ransome.

Shortly before midnight Cecilia hzC-
stowed away on Wainwright's yacht
he had discovered her and pitched her|
overboard, telling first his crew to watch
for her. Furious, she began to swim for the
shore, and Freddy had rescued her. It was
moonlight and her imagination had wrought
the charm of Wainwright into Freddy.
Wet and sobbery, she capitulated.

At about the same time, Leila's husband
appeared in her boudoir at the House of
Mystery. Ransome was with her, on the
chaise longue, holding her warm, respon-
sive hand, Lee saw him, and something
terrible in the shape of a smile twisted
his mouth. "I want to talk to you, Leila,"
he said. There was that in his voice which
had not been there before . . . definite-
ness . . . finality . . .

She asked Ransome to wait outside.
He did . . . right outside. Perhaps the
brute would kill her, assault her. He heard
Lee say, in a broken voice, "Leila, I'm done
for. The police are on my trail. I made
the last big throw on the Street I prom-
ised you I'd make ... to try to clean
up ... I lost. I . . . went outside the
Law. It's all up . . . wait, dont speak!
Ever since I first met you, with the splendid
dreams and ideals I had, I've done the
same thing . . . strained and strained, and
schemed and connived for money . . .
money. Money to buy you furs. Money
to hold you, to glut you, to keep you.
Because I am fool enough to be enam-
oured of your silly pursed lips, false lips.
Because I am mad enough to have craved
your scented, abominable flesh. Because
I have gone insane imagining myself lost
in the meshes of your manufactured coils'
of hair. It's all over. My lust of you is
over. I see you as you are, a half -decayed
thing with the unearthly sweetness of de-
cay. A parasite, a bloated thing, that has
sucked the blood from my veins and the
marrow from my bones ! A parasite . . .

These things Ransome heard, shrinking
. . . shrinking because the man's broken
heart and shatte.^J life were there dis-
played in his words, shrinking because he
knew them to be the truth . . . the Mys-
tery House was a charnel house and the
scented woman within was what the man
she had drained proclaimed her.

And next Ransome heard her laugh, an
incalculably cruel laugh, untouched, light,
abominable.

And then Ransome heard a shot. The
"mad fool" had gone to seek a finer, bet-
ter thing in an infinity that would not, at
least, be this . . .

Autumn. Summer's vesture still linger-
ing. A tang in the air.

Cecilia, in black, on the veranda, read-
ing the First Latin grammar.

The House of Mystery shuttered, aban-
doned, a rookery for migratory birds.

Alice and Dr. Jim in the orchard . . .

"If you could forgive me . . . Some-
times forgiveness is the only consumma-
tion," he said.

"I believe that I can . . ."

"Unless you understand as well ... I
dont want you to ... it is that I crave
. . . your understanding . . ."

"I believe that I do . . ."

"My dear !"

"Nothing else matters . . . even when
it should . . . when one . . . when one . . ."

"Yes, Sweet?"

"When one loves » » .*' f\

115 •

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What's What in Scenarios

{Continued from page 114)

physics. Its purpose is to enable the
readers of this magazine to write salable
stories. Nevertheless, it should be stated
that the contribution of Mr. Emerson and
Miss Loos to the photoplay has been, from
an artistic standpoint, of the highest value.
They were the first to attempt satire on
the screen. They developed a new type of
photoplay embodying the biting satire of a
Shavian drama with the brilliant dialog
of a French comedy, and at a time when
producers thought it impossible to carry
across subtleties of this sort to a motion
picture audience. Their best comedies,
such as "Reaching for the Moon," or their
more recent adaptation of "Mama's Affair,"
are told with a straight face — but under-
lying the humor of the plot is a caustic
commentary on life, with a sound philo-
sophy at the bottom of it all.

The criticism of stories, as given by Mr.
Emerson and Miss Loos in answer to ques-
tions, will be constructive. They will try
to tell amateur writers not only what is
wrong with their stories but how to rem-
edy it. The second article, appearing next
month, will be entitled "What Makes a
Photodrama," and thereafter there will be
one article each month.

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Emerson and Anita Loos to answer the follow-
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(If no story is attached, question may relate
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and self-addressed envelope with coupon so that
your answer and your story, if you sent any,
may be returned to you.)

The answer to your question is as follows (to
be filled out by Mr. Emerson and Miss Loos):

THE EASIEST WAY
By John Emerson and Anita Loos

For years there have been people going
about the world telling amateur authors
that it is easy to write scenarios. We
would not call such a person a lamb dyer,
but we might be tempted to term him a

d oh well, they're both short and ugly

words, anyway.

The truth is, as with everything else, it
is only easy to write scenarios if you know
how — if you have ideas and if you are
versed in technique. Whether you have
ideas or not is a matter which only you
yourself can divine, and a problem in which
no one else can help you. Personally, we
are convinced that great numbers of people
have ideas, but are unable to express them
coherently because they do not know the
fundamentals of photoplay writing. It is
this technique that we are going to try to
teach in this series ; and if we do not dwell
upon questions of inspiration and of artistic
ideals, you will know that it is because
those are matters outside the scope of any
teacher. What we are trying to give, is a
practical, working knowledge of our craft
— the formulas of the dramatist.

There are many questions which every
amateur always asks, and we are going to

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MAGAZINE

try to answer them now, before starting
the first lesson in scenario writing.

First, how milch money is there in scen-
ario writing? Five-reel stories sell at prices
all the way from $500 to $100,000, depend-
ing upon the company which buys them and
the reputation • of the author who writes
them. The experts who adapt the stories
of others to the screen — the "continuity"
writers — get a minimum of $15,000 a year
and their salaries run, in some cases, as
high as $50,000 an adaptation. It is worth
while to sell your first story for a song,
just to break into the game.

How long will it take me to learn to
zvrite scenarios? That depends upon your-
self. If you spend all your time in studying
and writing photoplays, it would not be too
much to expect that you might market a
story, if ever, within six months. Some
people have sold their first stories almost
the same day that they were written. Other
writers — in some cases, famous writers —
have ispent years in trying to break into the
studios. It is the greatest and most fas-
cinating gamble in the world.

Where and how great is the market for
movie stories? The demand for motion
picture stories is growing by leaps and
bounds ; already it is double what it was
sixteen months ago. The greatest story
market is in Los Angeles, where the
smaller companies are in crying need of
material. The largest prices are paid in
New York, but as a rule, when the great
motion picture companies of that, city pay
a top-notch price they demand a story by
a well-known author or which, at least,
has been widely advertised — a novel, play,
or magazine story.

Why are so many stories rejected?
Stories are usually rejected because the
author knows nothing of photoplay tech-
nique, just as a picture painted by a man
who knew nothing of art, might be ex-
pected to meet disapproval. Still more
often they are rejected because the author
sent his story to the wrong studio — a" tra-
gedy to Charlie Chaplin or a slap-stick
comedy to John Barrymore. The rejections
on "mailed in" stories last year were about
as follows: American Film Co., purchased
15 stories and rejected 3072; the Brent-
wood Film Corporation purchased 1 and
rejected 50; the Brunton Studios rejected
2,450 and purchased 100; the Chaplin
studios rejected 3,500 and purchased 1 ; the
Christie studio rejected 5,000 and bought
110; Douglas Fairbanks bought 6 out of
1,171 ; Dorothy Gish rejected 99 per cent.,
the remaining 1 per cent, of purchasable
stories consisting in just four; D. W.
Griffith 9000 and bought 15; William S.
Hart bought 8 out of 3;000 ; Metro bought
60; National Studios bought 12 out of
1872; Mary Pickford bought 1 and rejected
5 daily.

This might be discouraging if it were not
to be remembered that nearly all of these
authors were people who had never been
in a studio in their life, who thought movies
were made in somewhat the same way as
phonograph records, and who had never
seen, much less studied, a scenario. In
fact, a canvass of the studios shows that
most of these stories failed because 20 per
cent, of them depended on dialog rather
than action, and 40 per cent, more left
characterization completely out of their
synopsis.

In this series, besides showing you some
model scenarios, we are going to try to
teach you about characterization and action
and all the rest of it. But remember, these
are things that take time and effort to
learn : the. easiest way is the hardest way.
Motion picture writing is practical— but are
you practical?

We believe you are.

Tne Answer Man

(Continued from page 115)

fidelity — and your purse; to all men, jus-
tice. I cant improve on that much. So
you want to hear more of Alfred Whit-
' man. Speak up, Alfred, the lady is lis-
tening.

Nadine B., Evelyn, Ella S., Dottie
Mae, V. A., Mary, Mrs. M. T., E. A. B.,
B. . B. C, Kitty Admirers, Two Friends,
Buster, Mayo Admirer, Aline V. B.,
Sophomore, Trixie, Brown Eyes, G. K.,
R7634W, John Barrymore Admirer,
Nellie S., Richard Barthelmess Ad-
mirer, Neje, Mlle. Lee Rette, Greenup,-

Elsie M. — Your letters were all interest-
ing, but not inspiring, because you asked
me nothing new. Flatter me or call me
names, or start something!

Socrates. — Indeed, I live in a hall room,
snug as a bug in a rug, and am not rich,
as you surmise. I am not the kind that
sells their brains for gold. I have no
wants unsupplied, and therefore I am the
richest of the rich, in that sense. Glad
you like Hope Hampton. You will like her
even more when yo.u see her latest. They
all tell me she is improving wonderfully
and is doing some really fine work.

Hope Hampton Admirer. — You can
reach Hope by addressing her at 131 River-
side Drive, N. Y. City. I never give priv-
ate addresses like this without permission,
And I am sure that your promised present
will be appreciated.

Zim Zam Zum. — Your verse to Za Su
Pitts was indeed clever. When you get to
Africa, you might send me a Transvaal
diamond. I wouldn't object to it. Thanks
for the snaps of Anvers. I enjoyed the
one of yourself. "Ramon the Sailmaker"
is not quite finished, at this writing, but it
will be released before New Years day, I
understand.

Mary F. — Just keep right on writing.
Did you know the conversation of some
people is so unimportant that when they
stop talking you fail to notice it. Casson
Ferguson in "The Shuttle." Albert Roscoe
in "Black Shadows."

Navy Nurse. — Good morning Nurse.
You ask me what time I retire. I try to
make it ten; but it is more often eleven.
I go to bed with reluctance yet I quit with
regret. I make up my mind every night to
leave it early but I make up my body every
morning to keep it late. Everybody should
hit the feathers not later than 10 :00 every
night. That is the way to keep young and
beautiful like I am. James Morrison was
Bob in "Love without question."

C. V. LaGrasse. — Keep away from the
doctors as long as you can. There are
three kinds of doctors ; those who work
and make people well, those who work to
prevent people from getting sick, and those
who work people whether they are sick or
well. I agree with you about Elsie Fergu-
son. Wonderful artist. But just you wait
till you see Corliss Palmer, the new star of
the 1920 Fame and Fortune Contest.

Helen T. — You ask too much.

Just Blossom. — Touchin' on and apper-
tainin' to, here are the players you refer
to who are married : William Duncan and
Edith Johnson are married; Richard Bar-
thelmess and Mary Hay ; Conway Tearle
and Adele Rowland; Corinne Griffith and
Webster Campbell ; Charles Bryant and
Nazimova ; Wallace McCutcheon and Pearl
White; Anita Stewart and Rudolph Came-
ron, and Norma Talmadge and Joseph
Schenk. Are you happy now? There are
others, but let this suffice for the nonce.

Star Dust. — Your letter was very in-
teresting. Write me again.

(Continued on page 119)

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(Continued from page 53)

eloquent description of this beauty of the
desert; for the girls would go no farther.
(Whisper: they were afraid some of the
fans would catch them.) However, we
compromised on a row of penny-in-the-slot
machines in an out-of-the-way corner.

"Oh, let's go for a ride on Uncle Tom's
'Dipper,' " said , Coleen, and she and Pat
O'Alalley made off for a ride on the "Dip-
per," while the rest of us went for spins
on the "Steeple Chase," the "Virginia Reel"
and other concessions. -

Isn't it rather queer that on the scenic
railways, "dippers" and other thrilling
rides, that couples always find it necessary
to hold one another in, altho the seats are
carefully protected so that there is no
danger of a precipitous fall thru space?
I remarked on this ; but received no satis-
factory answer. However, I think I'll try it
with some young lady whose long friend-
ship with me would, stand the strain of such
an experiment. Being statistically inclined
because of my study of that subject at the
University of California this term, I en-
deavored to have the party tarry a bit while
I collected data on a number of couples who
found mutual protection in each other's
arms and those who did not. I wanted to
plot a graph of my observations; but Tom-
my Forman declared it was no use as it was
a waste of time; for if a: couple were con-
tented to hold on to the seat bars they
were married, and if they hung on to each
other they were single, and so, my graph
wouldn't mean anything anyhow. (I won-
der what my instructor, Miss Moody,
would say to that.) I noticed, however,
that Pat O'Malley and Coleen Moore were
satisfied with the seat bars. I dont think
there's anything in what Tommy Forman
says. Anyway the others wouldn't wait for
me to make my observations ; so I suppose
I'll have to do some personal investigating.

Venice and Ocean Park are rivals in
everything. Each has a famous band
leader for a season or two, then one or the
other will employ a still more noted baton
wielder.

The master used to dance around the
band platform when he first came to
Venice; but he has calmed down consider-
ably now and contents himself with a soul-
ful roll of the eyes in responding to en-
cores. However, both he and his competi-
tor at Ocean Park have their following
among the fair, and beribboned bouquets
are quite plentiful around the music stands
of the rival leaders at every concert. Pris-
cilla'and Katheirine were quite taken with
the manly Ferrulo; but Coleen's favorite
was the fiery Tomassino, whom we per-
suaded to descend from his lordly perch
during an intermission to submit to a photo-
graph in directorial pose on the sand be-
hind the bandstand.

Venice stages a bathing suit parade,
usually on Sunday, in which the costumes
are not at all too concealing, to say the
least. Ocean Park's pulpits resound with
thunderous denunciations of such brazen
displays of the more or less divine human
form to the gaze of the gawking rabble-
ment. However, when Mack Sennett sends
his none-too-adorned bathing beauties to
the Ocean Park sands to cut their cinema
capers and tourists surround the . camera
many deep, the most interested spectators
are the Ocean Park police (there's more
than one), and town officials. Nothing is
heard in the church pulpits and 'tis whis-
pered that the divines who raged so de-
voutly against the rival parade of pulchri-
tude, are not averse to "study the drama
as unfolded before our eyes by the young
ladies — and gentlemen from the Los An-

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geles studios who appreciate' the' beauties
of- our fair '■ beach as a locale for their
plots." '-.' -'•'■;

All" this rivalry" has had a beneficial ef-
fect op the towns, in a way. For, real-
izing the competition, crowds that visit one
place, feel" they' must see what the opposing
beach has to offer, and so they board the
electric "bugs" that run along the ocean
walk between the two towns, or stroll the
short distance along the beach. After our
ride "on the bug we had a look in at the
Dome dance hall and the Ocean Park dance
pavilion, better known as the "cracker box"
on the end of the pier. Here on "movie
nights" cups, donated by the stars, are given
away^to the most accomplished couple and
if the -star be present, she dances with the
male contestant and if the star is masculine,
he dances with the feminine entrant. All
this provides great excitement among the
kiddies and. grownups too and the floor is
crowded with cheering spectators when the
prize is: awarded and the winning contest-
ant glides by^with the star. .

Before returning home we went for a
dance and refreshment at "The Ship Cafe,"
famous for its interesting history and
unique arrangement. Inside, one can
scarcely distinguish that he is not on an
ocean-going liner. Here gather the lights
of sportdbm and filmland. • Prohibition has
somewhat dimmed its gaiety but those, who
attend can still shake a lively ankle as we
found when David Butler and Mary Mac-
Laren seized the musical reins from the
orchestra and withSpiano. and drum, rat-
tled into a lively fox-irot.

Priscilla was determined .to return home
in an aeroplane ; so we all piled into Tommy
Forman's car and made for the Venice
Aviation ground.

We waved goodbye to Priscilla as her
plane roared to the take-off and turned the
nose of our machine toward Los Angeles
and a hot dinner. "I, trust you're all ready
for the 'grind' at the studio tomorrow,"
said Tommy Meighan.with a laugh, ate we
broke up on our arrival in the city.

The Jucklins

(Continued from page 51)

the elder ' Jucklin. That bitter breach
only time could' temper and allay with
the panacea - of the gently drifting years
— years like soft leaves covering the
naked wound of the exposed earth.

In the, .'evening of the return, Guinea
came out lathe farm-yard, thru the kitch-
en door, 'just as/ in their leaner days, Bill
had dreamed-' she might.

She - c'a'nie ■ straight to him and leaned
against jvth'e'!fence. (which was to be re-
paired) ;,:;a* y d raised her soft throat and
rapt face "to the evening star. .

"BuT/'/she said.

"Yes .' '. . yes . . . ?"

"We ... we couldn't read the writing,
School-Master, • in the stars. It was all
blurred. >You' . . .you didn't teach it to
me right."

"Never mind, dear," Bill thought" she
meant Ghyd and herself ; she was still
hurt, he. 'thought; "never mind," he re-
peated softly.

"Oh, I 'dont . . . now. that I read it
aright. It says . . . doesn't it,- ;Bill , . .
it says 'Guinea and' Bill' . . . and there's
something drawn all 'round about it . . .
a heart, Bill ;-a big, big heart . . . big like
yours, . . "...but," oh, not so tender, my
dearest . . .",

And then, Jher voice broke, . so deeply
soft it,.was', i apd Bill, dropped. on his knees
and touched her, and he didn't- know nor
care zvhat the stars said, and he' couldn't
have seen them':even had he tried. . -.

The Answer Man

(Continued from page 117)

Kittie C. — Thanks, you call me the
foundry of knowledge. How about your-
self? I believe you refer to Dr. Samuel
Johnson, whom Boswell made famous, and
who sat in his easy chair and was for
twenty years the literary oracle of the
world. In 1775 he completed the first large
dictionary of the English language after
eight years of solid labor on it. And you
call me the modern Johnson. Hoot, mon !
Bessie Love in "Bonnie May."

Lillian; DeLa C. ; Mrs. Earle L. ;
Miss Curiosity; Juliette B. ; Araminta
A. A. ; Wanta Knowall ; Jessie M. ;
Daddie; Thelma M. ; Eleanor; M. K. ;
Mary S. ; Pauline G. ; Mary S. B. ;
Violet Grey; Romeo & Juliet; Estelle
D. ; Marjorie E. C. ; and Olivia. Was
very glad to hear from you all, and sorry
to put you in the alsorans. Ask me some-
thing new and I'll wax eloquent.

G. M. A. — My dear child, you need more
than your mother's consent to get you into
pictures. The picture you sent me is very
pretty, but you are still very young. Why
not wait a little longer?

Arline 20. — It's a poor mule that dont
work both ways, not a poor rule, for a rule
that works both ways is no rule at all. Is
it? Lew Cody is playing in "The Cycle of
Fate." Yes, Helen Gardner and Templar
Saxe in "The Devil's Angel."

Walter C. — Where was your stamped
addressed envelope?

Salome. — Well, a critic is a necessary
evil, and criticism is an evil necessity. Bar-
bara Castleton in "For the Freedom of
the World." I notice that Willard Mack
intends to make her his blushing bride.
Mary Warren was Beatrice in "An Honest
Man." Fritzi Brunette in "And a Still
Small Voice." Webster Campbell in "Bab's
Candidate."

Anxious. — It seems to me that you are
waiting for opportunity when you might
be making opportunity. Weeds grow of
their own accord but crops must be planted.
Sorry I cant help you. Why dont you
send for a list of the film manufacturers?
Send a stamped addressed envelope to me.

Bobby. — You can reach Shirley Mason,
Los Angeles, Cal.

English Rose. — Here you are, all in one
breath. Violet Heming born in Leeds,
England; Marion Davies born in Brook-
lyn ; Madge Evans was born in 1909 ;
Virginia Lee Corbin in 1912 ; Antonio Mo-
reno born in Spain. You're welcome.
Kathlyn Williams in "Prince Chap."

Asphadel. — Nobody envies my wealth
and nobody envies my health. Had I wealth
and lost it, somebody would be the gainer;
had I health and lost it, everybody would
be the loser. Isn't it so? Richard Barth-
elmess played with H. Palmerson Williams
in "Bab." Dorothy Donnelly played in
"Madame X." Harry Hilliard was Romeo.

Kitty. — Yes, indeed, I enjoy reading.
Don Quixote is, after all, the defender of
the oppressed, the champion of lost causes,
and the man of noble abberrations. Woe
to the centuries without Don Quixote.
Nothing remains to them but Sancho Pan-
zas. Tom Douglas you want to hear more
. about. Yes.

Blanche B. — Enid Bennett is married to
Fred Niblo and Billie Burke to Florenz
Ziegfeld. Wallace Reid, about 28. Jack
Crosby was Kenneth in "A Daughter of
Two Worlds." Ella Hall is still married
to Emory Johnson.

Jazz 697. — No, I have never had the
pleasure of talking to Gloria Swanson, but
I would like to. She became the mother
of a baby girl who will be called Gloria. .

GodomondI. — Well, I drink about a quart
of buttermilk ever^ day. No, I dont care
for sardines. So you think I ought to com-
ment more on the pictures. The line of
my comments is directed by my readers.
I certainly did enjoy "Peaceful Valley."
I believe it was Charlie Ray's best, and he
is always a lovable character. Didn't care
so much for "Good References" with Con-
stance Talmadge. Very light picture.
Write me again.

Robert S. — To remember — to forget ;
alas ! this is what makes us young or old.
I remember with regret when I first found
out that there was no Santa Claus. I am
going to hang my stocking up this year, but
I suppose I will find it full of emptiness.
It is more blessed to give than to receive
(my address is 175 Duffield St., Brooklyn).
Charles Meredith in "Judy of Rogue's Har-
bor" and Jere Austin in "Erstwhile Susan."
Hart Hoxie was Henry.

Goity Moiphy*— Hello Goity. All of
the players you mention are in Los Angeles.
So you are not very beautiful. Well beauty
is the first gift Nature gives to women and
the first she takes from her. You have
nothing to lose then.

Kazuo T. Isozaki, 28-1 Kawaraya-Cho,
Minamiku, Osaka, Japan, would like to
exchange cards with my readers.

Nogi. — Thanks for the fee. Maurice
Costello, I dont think, is doing anything
now. You say he will always hold a cor-
ner in your heart. You say you can never
forget Edith Storey. No, who can?
Mabel Trunnelle — I dont know where she
is, either. Some day we will have to hunt
them all up and have a grand reunion.
You say you have done ■ everything in an
editorial department but fill the managing
editor's shoes, yet you have never been an
Answer Man. Try it — it's lots of fun.

T. E. W. — Mrs. Sidney Drew can be
reached, Vitagraph Studio, Brooklyn,
N. Y.

Thirteen. — Thanks for the stamps.
Marjorie Daw is in Los Angeles, Cal.
Also Gloria Swanson and Viola Dana.
Thanks. Write me again.

Stanley. — Thanks for the cigar. Glo-
ria Swanson is not playing at this writing.
Yes, very much so. You will hear good
news about her very soon. You guessed
it the first time ; Gloria No. 2 is expected.

Mr. D. V. — I have answered yours by
mail.

Nogi. — I am just vain enough to like you
and your interesting letter. So much so,
that I'm going to quote part of it: "I
have an uncomfortable feeling that I'm
talking, or writing, to thin air. You are
not concrete enough, sir. I'd like to meet
the man who possesses so brilliant a tongue
and so kindly a nature, but you're entirely
too much in demand, too busy. I imagine
that's one reason why so many who would
like to get in touch with you hang back.
They feel like atoms or midgets around
an arc-light.

"I dont know whether your age is seventy-
nine or twenty-nine. But you say it's the
former, and I'm not going to dispute you.
You probably know more about it than
I do, anyway. I see nothing strange
about an elderly man in your position.
In fact, it seems sort of appropriate.
And I never yet have known a young
man with the patience, the dry wit, the
mellowness of nature or the kindliness
of disposition that you appear to possess.
I feel like a fool, telling you these thing's.
But, honest to John, sir, it's not a lie.
Altho in the editorial game, you are un-
(Continucd on page 121)

119

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California Chatter

(Continued from page 80)

picture will be "The Halfbreed" in which
William Desmond will have the lead and
Francis X. Bushman and Beverly Bayne
will be associated with him.

Albert E. Smith, president of Vitagraph,
has apparently decided that California is
better than ever as a picture-making terri-
tory. For he has arrived from the East to
make his permanent home here where he
Can personally oversee the future expan-
sion and activities of his company. Vita-
graph now has seven companies at the Los
Angeles studios and four at Brooklyn. In
addition, another company for specials t is
soon to be started here and at least one,
perhaps two more comedy units organized.
At the Los Angeles studios now, David
Smith is producing "Black Beauty" in sev-
en reels with -Jean Paige in the principal
role; Chester Bennett is finishing "Dia-
monds Adrift" with Earle Williams, and
Antonio Moreno has begun his first fea-
ture "Three Sevens." William Duncan
and Edith Johnson are in the midst of
"Fighting ' Fate" ; Joe Ryan is making a
W'estern serial; Larry Semon is producing
special comedies, as is Jimmy Aubrey.

Elliott Dexter who has entirely recov-
ered from his recent illness is seriously
considering going abroad next Spring.
Meanwhile he is - to 'appear in "The Affairs
of Anatol" and one of two other specials
before leaving.

Fred Niblo has completed the new Doug-
las Fairbanks' feature, "The Mark of
Zorro," and is to return to the Ince stu-
dios for one special all-star production for
the Associated Producers. J.Gardner Sulli-
van is Writing the continuity for a well-
known story, the name of which is not yet
announced. After that, Mr. Niblo may re-
turn to Fairbanks, who expects to make
two more pictures before leaving for Eng-
land next Spring.

Universal has purchased "It's Never Too
Late to Mend" by Helene Christine as a
starring vehicle for Eva Novak, whose first
stellar picture, "Wanted at Headquarters,"
was very favorably received.

A good story is told of Norman Dwan,
who was recently directing a crowd of 200
extra people for a scene in Edith Roberts'
feature, "White Youth," at Universal City.
During the day he had cause to address
them as follows :

"Ladies and gentlemen, we have given you
real food to eat and real punch to drink ;
3'ou are . sitting on real upholstery, look-
ing at real paintings and tapestries and you
are wearing real silks and laces. May I
ask one thing in return?"

All the actors nodded assent.

"Then for the love of Mike let us have
some real acting !"

William Christy Cabanne whose latest
Robertson-Cole production, "The Steal-
ers," has made a big hit, is now at work on
his second original picture, the story of
which was written by himself and is en-
titled "What is a Wife Worth ?"

Work has started on Louise Fazenda's
series of two-reel comedies for the Special
Pictures Corporation. The comedienne has
been under contract for some time but just
finished her work with Mack Sennett.
Miss Fazenda will work under the banner
of A. L. Hart Productions Company which
is also sponsoring the Conklin two-reel
comedies. She now has the right to ap-
prove or reject all stories and the finished
film including subtitles must have her O. K.

One of the most remarkable novels I
have ever read is "The Little Lady of the
Big House" by Jack London. Not the
least of its charm to me was its title. Now

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Metro has started cinematizing this virile
story and changed the title to the one of
"What is the' Matter with Marriage?"
which has absolutely nothing to do with
the plot. Everyone must regret a policy
like this which is becoming more and more
rampant in picture companies. The cast
for "What is the Matter with Marriage?"
which you will probably never recognize
as "The Little Lady of the Big House" in-
cludes Ora Carew, Milton Sills and Nigel
Barrie.

May Allison is one of the most capable
and talented stars. She not only designs
her own clothes but recently drew plans
for the interior of a church and its altar
to be used for the wedding scene in her
latest picture "Are Wives to Blame."
Then she had three days vacation — dur-
ing which time she made preserves from
the fruit of the eight fig trees which adorn
the rear of her beautiful new home in
Beverly Hills.

The Screen Writers' Guild of the
Authors' League of America is at last an
accomplished fact. Offices have been
opened at 224 Markham Building, Holly-
wood. The chief purpose for which the
Screen Writers' Guild has been organized
is to promote a closer and more co-opera-
tive relationship between the producer of
motion pictures and those who in the capa-
city of writers are directly associated with
him in the creation and preparation of
screen material. For instance the registra-
tion of manuscripts — which is a tried and
proved protection of the author against the
theft of his ideas — is one of the duties
which the Guild has undertaken and which
service is available to any author of motion
picture material whether or not he is a
member of the Guild.

Ford Sterling has completed a tour of
the Western Coast but has postponed his
Eastern personal appearance trip to start
work on his first comedy at the Special
Pictures Studio. The other day President
Thompson called him into his office and
said :

"Well, old man, I think we'll have to
lower the salary we are paying you."

"But I have a contract," protested Ster-
ling.

"Yes, I know, but haven't you noticed
that the price of all Fords has gone down?
I cant see where you're an exception."

The Goldwyn Studio has a most inter-
esting wardrobe manager — by name Sophie
Wachner. The other day she was having
a brainstorm figuring how many yards of
silk will be required to make seventeen
dozen old-fashioned dresses having fifteen
or twenty yards in each one. She'll have
a worse brainstorm trying to count up how
many modern frocks one old-fashioned
dress will make when she remodels them
for another picture.

William H. Crane, dean of the American
stage, intends to make Hollywood his fu-
ture home. Altho Mr. Crane has an-
nounced that he does not care to work be-
fore the camera, still he wishes to keep in
close touch with the studios and any of his
former associates who are now working
for the screen.

Marcus Loew has been spending some
time in Hollywood visiting the Metro stu-
dios in which he has a large interest. He
asserts that his viewpoint is still primarily
that of the exhibitor.

When dealing with bores one good turn
down deserves another.

The Answer Man

{Continued from p.age 119)

doubtedly human, and nobody lives who
doesn't eat appreciation. For heaven's
sake, take this as it's given. I shy at being
thought a bally flapper. Personally, I
hope that you are seventy-nine and not a
day younger."

Ruth ; Cathryn H. ; Jennie 'B. ; Con-
way Tearle Admirer; Eugene O'Brien
Admirer; B. H! N. & M. E. ■ 1. ; L. H. G. ;
Alice Louise; Eugene Lacayo, Manila;
D. S. B. ; English Girl; Jim S. ; Maude
S. ; X. V.; New Orleans Girl; Jose-
phine; Blue Eyes; Monroe Salisbury;
A. M. K. ; Blondie ; Two-Gun ; Wallace
Reid Fan , Vivian Martin Fan ; Just
Toots ; D. W. — Better luck next time, but
3'our answers appear above — somebody
else got ahead of you all.

Gloria H. — Surely, I was glad to hear
from you. Martha Mansfield is playing
opposite Conway Tearle in "The Road to
Ambition." That's the road we should all
take. You refer to Charles Spere.

Jewel P. — Have success, and there
will always be fools to say that you have
talent, you say. I agree with you, but the
majority wont grant success without
talent. Yes, Edith Roberts, in "White
Youth."

Jane St. Clair. — No, I am not super-
stitious, but I have heard of the one that
if an actor's shoes squeak when he is
making his first entrance, he will be very
well received by the audience. That was
W. P. Carleton, in "The Amateur Wife,"
and Albert Roscoe, in "Her Elephant
Man."

Dolly B. Good. — You ask me the best
way to get thin. The surest way I know
of, altho rather inconvenient, is to stop
eating. As my friend, Brown, says, I
know a nice, affectionate girl who goes
about patting beefsteaks on the back, run-
ning her fingers fondly thru the beards
of oysters, holding hands for hours with
breaded veal cutlets, rubbing noses with
pork chops, and having affairs with boiled
onions. Her emotional eyes light with
amorous interest in the presence of food ;
they fill with great, glistening tears when
the plates are taken out, and she sits de-
spondent, weeping gently into her cof-
fee. Monte Blue, in "Jucklins."

E. M. — No, I do not live in New York.
I have all I can do to live in Brooklyn on
$10 a week. In my hall-room I have arti-
ficial heat, artificial light, and artificial
food, but so long as I dont have artificial
hair, teeth, eyes and legs, I'll get along.
The life of an Answer Man is but a bed
of roses.

Yo te Amo. — Heap much thanks. I
prized your letter highly. Yes, Douglas
Fairbanks, in "The Mark of Zorro." Taken
from the novel "The Curse of Capistrano."
Marguerite de- La Motte opposite him.
Yes, indeed, I like to go to art exhibits.
I always attend the National Academy
Show in New York. Ancient works make
one warm, modern ones leave one placid.
The reason is, perhaps, that the ancients
had more faith than we have. Why, Jere
Austin was born in Minneapolis.

Just Vicky. — Thank you, but I think
that the wisdom of old age compensates
for the vigor of youth. You certainly pay
me the highest sort of compliment. Pell
Trenton was born in New York.

December Mary. — You say I resemble
in achievement today what Dr. Samuel
Johnson was in the past, who sat in his
easy-chair, and was for twenty years the
literary oracle of the world. Say, that's
what I call mighty nice of you. Wont
you be my Boswell? Phyllis Haver, Marie
{Continued on page 122)

Screen Stories
in Demand

Before sending your photoplays
and stories out on the market,
be careful to have them first put
in proper form and language.
The "Detailed Synopsis" is pre-
ferred by the studios, as almost
every producing company now
has its own scenario form, and
it would be an utter impossibility
for outside writers to learn them
all. But, a "Detailed Synop-
sis" can be used by any company,
and, if accepted, will be "pic-
turized" by their own writers to
suit their own requirements.

We CRITICISE, REVISE,
and TYPE photoplays and sto-
ries at reasonable rates, which
will be furnished on application.
After REVISION, we return
the same Carbon Copy and
Original, to the writer, along
with a complete list of PRO-
DUCING COMPANIES, to
whom scripts may be sent di-
rectly. This is the method now
universally adopted by both
studios and writers, and it has
been found to work admirably,
as it is a distinct advantage to
the writers, who thus come into
personal touch with the Studio
Editors and Directors.

Mr. T. Herbert Chesnut ("Al-
lan Douglas Brodie"), short
story writer, photoplay-wright
and screen actor, who has made
many friends among writers
thruout the English-speaking
world during. the past five years,
is now Editor of our SCEN-
ARIO DEPARTMENT, and
will be happy to extend every
courtesy to our patrons.

We assure the readers of MO-
TION PICTURE, CLASSIC
and SHADOWLAND that we
shall be glad to give them every
assistance in our power. Send
stamp for further information.

Brewster Publications

INC.

SCENARIO DEPARTMENT

175 Duffield Street
Brooklyn, N. Y.

121
PAfiU

I [

(preset

The Forman of the Megaphone

(Continued from page 72)

ring vehicles which Mr. Forman was di-
recting. But, as it was apparent that he had
written many other things besides, we
didn't like to ask his name. It was he who
opened the door for us and said, "I'm not
Mr. Forman. He is in the tub ! But come
right in, and he wont be long now." So
we talked about everything, principally
about how very bad, bad pictures can be,
and so, when Tommy Meighan came in, he
took it for granted that we knew whom
we were talking to, and only said, "Hello,
everybody. Where's the medicine case?
I'll fill it." And we all went on talking
about how very bad, bad pictures can be.

Now, of course, when you're not sure
of your listener, you have to be careful
what you say, for we never shall forget
the time we said to an inoffensive yqung
woman : "I Wanted to kill the ingenue in
that picture." And she replied: "Yes; I
thought my work was bad. It was the
director's fault." So, whenever we took
up a new picture for discussion, we would
first say: "Did you write it?" For, even
having the courage of one's convictions
isn't the same as telling a man to his face
that you, think his work is rotten. But
we're quite sure that we shall like "The
Quarry !" The nameless blond young man
likes all of our favorite directors, such as
David Griffith, Jerome Storm and George
Loane Tucker, and, "as a man thinketh,
so shall he write scenarios."

Every time we dont see Tommy Mei-
ghan for a couple of months we forget
how nice he is ; so, when he walked into
Mr. Forman's apartment the other even-
ing, we had a hundred things to talk
about. We both started in simultaneously :
"Do you remember that interview at the
Astor?" and, "Oh, that night at the Zieg-
feld Roof!" "Have you ever seen him
since?" and "Did you get there on time?"
So when Mr. Forman, pink and white and
fair-haired and radiant in his dinner
clothes, came into the room no one saw
him, and he just had to break right in
and say, "Here, I want to be interviewed !"
So Tommy Meighan said : "You cant be
interviewed now. You haven't time.
We'll all have luncheon at the studio on
Monday, and you can be interviewed
then." But we were quite firm.

"Never mind the story about 'the mir-
acle cat' now. You go and sit down for
ten minutes, and then we shall deliver
your director into your hands intact, to
do with as you will."

We took one look at our victim and
said : "It's a shame, you're not going to
be a leading man any more. Why do you
prefer directing?"

"Well," he answered, "I can answer
that question very easily. In the first
place, I wasn't a leading man — or only on
rare occasions at least. I was always play-
ing second leads — the returned-soldier-
who-finds - his - sweetheart - married - to-an-
other-man sort of thing. And then, just as
I was being cast for leads, I went away
to war, and, I tell you, the war makes a
lot of difference."

"You played the lead in the last picture
we saw you in. Cant remember the name
of it, but you stole Irving Cumming's girl
away from him and married her ; and then
he returned from the war like Enoch Ar-
dcn. Do you remember? Of course, you
were the lead in that, because it is always
the leading man who marries the heroine."

"Yes, I played the hero in that ; but it
isn't possible to be away for two years and
then to take tilings up just where you left
off. So it didn't look to me as tho I was
ever going to get very far."

122
Afifi

"But you were so clever on the screen,"
we murmured, determined to make this
ex-movie herd regret his departure from
the drama. He didn't seem a bit elated.

"I never thought so," he answered. "I
never liked what I did." And he meant it.

"But, dont you miss seeing yourself
in the pictures? Didn't you envy Jack
Holt in 'The Sins of Rozanne'? And,
wouldn't you rather have been making
love to Ethel Clayton than directing her ?"

"Well, a story like 'Sins of Rozanne'
isn't easy to do, on account of the occult
stuff; but I prefer to be the man behind
the gun."

"And wont you languish for the plaudits
of the well-known public? You know a
director never gets the credit he deserves
when the picture is good."

"No ; but he gets the blame when the
picture is bad ! Art9 as for the other, I
dont care two straws for it. I haven't a
bit of vanity. I never was cut out for an
actor, anyway.. I was born in Texas, and
was raised to punch cattle. However, I
do like directing. An actor is only so
much putty in the hands of his director.
He has no will of his own !"

"What's that?" called out Tommy
Meighan from the next room. "So, I'm
only putty, am I?"

"He wasn't talking of stars," we called
back . . . "only of ordinary mortals. Keep
quiet in there ; our allotted time is not
yet up." And then to Mr. Forman we
said : "And you preferred being the direc-
tor to being the putty?" Omar Khayyam
has said something very nice which would
have been appropriate to the occasion,
only we couldn't think of it then. We never
can when we want it in a hurry. It's some-
thing about the potter's clay.

"Yes, I was saying that there were many
reasons why I'd rather be a director than
be an actor. You know, the director gets
more money than anybody unless it is the
star, and we've got to think of that. And a
star never expects to retain his following
for more than six or eight years. The pub-
lic is notoriously fickle. I expect to be
directing when I'm an infirm old man,
walking around with a stick."

"Yes ; and, of course, you should begin
to plan for the future. You must be all
of twenty-five, aren't you?"

"Oh, I never tell my age. I'll tell you
where I was born, but not when."

"Why, if we were your age, we should
be shouting it from the housetops . . .
'We're only twenty-five ! . . . We're only
twenty-five !' It's great to be young."

"Yes, but not for a director. They think
they cant trust you until your hair be-
gins to turn grey."

"Dont worry," we added. "Your's will
begin to turn grey before you've directed
many more pictures. Why, dont you
know that if the star's work is stilted, or
the continuity is bad, or the ingenue is
'too cute for words,' or the titles are bad,
everybody says, 'Cherchez le directeur!'
Oh, your hair will turn grey fast enough."

"And I'll see to it that it does," called
Tommy Meighan from the next room.
"Haven't you finished with him yet?"

"Yes. Just one thing more. In enum-
erating the advantages of being a director,
you left out one thing. You know, when
you're a star, you have to be careful what
you eat so as to keep your waistline where
it belongs. But when you're only a direc-
tor, you can eat anything you like.

"Which is a polite way of telling me
that I'm getting fat. I know it; but
whether it's because I'm a director, or
vice versa, I'm not so sure."

ike Answer Man

(Continued from page 121)

Post and Charles Murray, in Mack Sen-
nett's next five-reel feature, "Love, Honor
and Behave." Naomi Childers, in Cali-
fornia. Thanks, write me again.

Beula. — We all should be both teach-
ers and pupils ; no one is so ignorant but
he can teach, no one so learned but he can
learn. Carol Holloway is playing in "A
Good Bad Man." Lottie Pickford did not
play in "The Trey of Hearts." You refer
to Cleo Madison and George Larkin. Wil-
liam Boyd was Mr. Carpenter in "City of
Masks."

Dolly B. Good. — You here again?
Eugene O'Brien is 37 ; Jack Pickford, 25 ;
Constance Talmadge, 21 ; George Walsh,
29. You're welcome. Myrtle Stedman,
and Lawson Butt, in "The Tiger's Coat."
Lester Cuneo is playing in "Lone Hand
Wilson."*

Emily F. — Thanks, indeed, for the
fudge. It was very fine, and you are quite
a candy maker. As to your question, {
think perhaps it is better for you to wait
and live in your world of dreams than
to join the noisy throng.

George M. — Thanks for the clipping.
You say Yonkers is next to the largest
city in the U. S. Yes, geographically
speaking. Ruth Stonehouse and Eileen
Percy, in "The Land of Jazz."

Agnes. — Why, the tomato was formerly
called love-apple, was thought to be
poisonous, and was grown for decorative
purposes. Yes, I know, the other day a very
handsome chap called here and told me
that Rod LaRocque's name should be spelt
just as I have spelt it. You can reach him
at the Greenroom Club, New York City.

Zim Zam Zum. — Thanks for your cards.
They are much appreciated.

Spectator. — Thank you for the picture
of yourself in a bathing suit. You ought
to join the Mack Sennett company. You
have my sympathy. Sylvia Breamer is
playing in "The Devil," with George Ar-
liss. George Beban, in "One Man in a
Million."

Mary M. — Your questions in rhyme
were interesting to read. About Moreno,
I shall proceed. Married, he is not, you
see ; in serials he will no longer be. Finis.
Now, isn't that just too clever for any-
thing?

Lillis St. Clair. — One of the old
Pansy Club members. Glad to hear from
you again. Be sure to call on me when
you come East.

Peggy San Francisco. — They tell me
Conrad Nagel is the father of a baby
girl, Ruth, which was born on October
29th. E. K. Lincoln and Hazel Dawn are
playing in "What Is Love?" I hope they
know. Nobody else does. The Bible has
been translated into 450 languages and
dialects.

Milwaukee. — Thanks kindly for the
box of milk chocolates. Sweet of you.
Sweets from the sweet to the sour. You
want an interview with Cullen Landis
soon. You ought to have it. Yes, they do
say that there is a device on which a mov-
ing hand indicates the direction the car
will turn, being designed for use on the
rear of motorcars.

Brown Eyes. — Why, it was General
Zachary Taylor who led America's vic-
torious troops in the war against Mexico,
and he captured Palo Alto May 8th, 1846.
Norman Trevor has been signed to make
eight pictures for the new Ziegfeld Film
Company. Florence Reed and Earle Foxe
have also signed with this company. Just
forget about that Chaplin question.

Anyone. — Why, I started to work here
in November, 1910, but I was with Mr.

/trjVlOTlON PICTUR[\ I

lne)l I MAGAZINf

Brewster in September, 1910. The first
issue of this magazine was the February,
1911, with Thomas Edison's picture on
the cover. Wallace Reid has one child.
You refer to Bobby' Connelly.

Bronx Nut. — Your letter was certainly
full of nonsense. God must have loved
silly people — he made so-many of them.

Nuts, St. Louis. — Glad to hear from
you again. So you are married and have
two children. Congratulations. Write me
again.

Devil Dog. — You want to see and hear
more of Lillian Walker. So do I.

Berte from Milwaukee.— Late suppers
and late hours make men unhealthy, un-
wealthy and otherwise. I dont approve of
them. Rockcliffe Fellowes is playing oppo-
site Ethel Clayton in "The Price of Pos-
session." You refer to Edith Taliaferro
and Jack Sherrill. Very interesting, your
letter.

The Answer Man insists on our publish-
ing this letter, and not without, cause. It
seems that H.C. is an inmate of an unmen-
tionable institution and we bought a W.S.S.
from him to help him out. Just read what
he saj'S and see how eloquent he is : "There's
not a person in all the world I could more
wish just now to meet than yourself."
Terence, Phormio. Additional scene.

Which may or may not flatter you, my
dear X, but candidly it is the truth; It is
a night for companionship for "Th' wind
am a howlin' in the pine wood brake."
While the spatters of rain against the
windows whisper things not understood by
human ears and all Camden Town lies
silent except two muffled notes borne
faintly on the wind from the clock tower.

Of course, by all laws of decency I should
be in bed, and yet here I am prowling
around in a bathrobe like some ill-begotten
spirit doomed for some infinitesimal sin.

I suppose some punishment is due me for
not answering your most generous letter,
and if you just say the word I'll have the
doctor slip some nux vomica into the vile
concoctions he now prescribes as medicines
and we'll call it square. Confidentially, "he's
a very accommodating old chap; frank,
outspoken and all the rest of those irritating
qualities habitual with physicians — and -di-
rectors.

He quite frankly told me yesterday that
if he could make an emulsion of my dis-
position it would form a culture bed of
bacilli that would start a bubonic plague.
So I am beginning to wonder whether a
plain stone slab or an elaborate granite
block would be suitable placed admidship
after the gentleman in the over-alls and
run-down shoes gives me the final pat in
the face with his spade, and it all started
because I dared to remark in a fit of
despondency that "I was a stranger to
everybody except God — and to him I was a
disappointment."

Seriously tho, my dear X, if I could
find words suitable to express the pleasure
your letter gave me, perhaps I would be
more' content in knowing that you under-
stood; but, somehow, for some unknown
reason I am left groping helplessly, blindly
and can only wonder at my own stupidity.

It was really wonderful of you to pause
long enough to shake hands with me and
laugh over the interview I sent you. Can-
didly, I wish there was a phrase more ex-
pressive than just "Thank you."

But, my dear X, I am greatly troubled
about the check. I did not send the inter-
view to sell. It was not even in Ms. form,
but when I received the check I thought
that possibly "Ye Editor" would find space
for it, and if so the check would be hon-
estly mine; but as time passes and the
customary six to eight weeks have gone by,
(Ah ! how many slips have I with that six

to eight .veeks) and there has been no signs
of the article, I have come to the conclusion
it has not appealed to him, so I want to
return the amount you so kindly sent me;
but am in doubt as how to do so.

If sent by registered mail to the "An-
swer Man" would it reach you safely? A
money-order is out of the question (con-
found this incognito and a registered letter
is all I can think of, only I want to be
sure you are there and not on your vacation ;
so please help the dumb.

I sincerely wish I knew you well enough
to write often, for at times I get the "wil-
lies" so bad that you might think I was
Nazimova, and I dont need to ask questions
about the pictures nor the stars as I am
pretty well versed in astronomy and I get
all the movie magazines on the market,
but the way you put your act over is a
riot ; original and well-seasoned and best of
all, you're so damnably human. Now do
you wonder why I want to know you better.

Please dont think I wish to pry into
things I have no business to, for I am not
a he — Mrs. Grundy. Your name, age, and
color of your eyes I will leave to man's
dearest enemy. If you were a convict with
the same mentality I would gladly hail you,
for candidly speaking I am a mental Robin-
son Crusoe on the Island of Life.

Did you ever read Ralph Iron's "Story
of an African Farm"? If not, may I send
it to you? I consider it a wonderful piece
of work and am sure you would enjoy it.

Thanking you again for your great kind-
ness and trusting sincerely that you can
find time to wave from your hill o' battle
in the direction of mine, I am, H. C.

Lenore G. — I wept real salty tears when
I read yours. Yes, Casson Ferguson.

Earl, Ark. — Youiare not educated right
if you say that. To have no education is a
misfortune. To have a wrong education
is a calamity. Lawrence Grant in "To Hell
With the Kaiser." You refer to George
Chesebro. Why should we complain, since
we are so little moved by the complaints
of others?

Senonta Nee-Nah. — Aha, you say you
always read my department last, because
you always believe in saving the best thing
till last. My most gracious thanks. Marin
Sais is in Los Angeles.

Smiles. — I am afraid the picture would
be too small. I guess you like the gravure
printing better. We never forget what we
learn with pleasure, and that is why mo-
tion pictures are the best kind of educa-
tion.

G. T. R. — You pay me a high compli-
ment. I try to be happy by learning what
I know not and teaching what I know.
So you enjoy the Capitol Theater, while
I like the Strand. I usually go to pictures
every Monday night. The Editor takes
me.

RubyK. — So this is your first letter to me.
Come right in ; dont be afraid. I like all
my friends. Friends unjustly gotten are
seldom comfortably enjoyed. And you
seem to think that Tom Moore ought to
have some of his eyebrows pulled out.
The men will all be doing it soon, and
most of them need it badly.

Inquisitive Sonia. — Thanks, a lot, for
your gem of a letter. Yes, Olive Tell is
with Selznick, playing opposite Eugene
O'Brien in "Regret." Viola Vale, oppo-
site Bill Hart.

The Hat City— Hats off! The blonde
was Doris Pawn. In nude, painted, sculp-
tured, or described, some see only the
line of the beautiful ; others see always
temptation.

W. A. K. from the Pines. — No, my
child, I do not want riches. I am very
happy getting $10 a week. Surely, it is
{Continued" on page 126)

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123

j OtC=XOX=3i«IC

3iOX=3IOiC

:xok:

3tOH H<

UST outside the door the fairies are

waiting with their gifts. Let them in.

They will weave a magic spell about

you and transform you with their deft

touches," says a lovely new star, the winner

of the 1920 Fame and Fortune Contest. And

she tells who these fairies are in the story,

In League with
the r airies

CORLISS PALMER

wnicn will appear in

The March Numher

MOTION PICTURE

MAGAZINE

This is the first of a series of beauty articles by
Miss Palmer, who, as the most beautiful
woman of America, is prepared to give her
very modern and advanced ideas of acquiring
and preserving beauty and health for the
benefit of every woman who seeks her
shrine. Beginning with the March number,
these articles will appear regularly in Motion
Picture Magazine.

3WSC

ISOlCZ^iOK:

3i«C

2>OKZ=}l<

Across tne Silversneet

(Continued from page 75)

He offers the hand of his adopted
daughter, Eva, to "Squire" Rattray, pro-
vided Rattray, who is passionately in love
with Eva, helps him in securing a great
hoard of gold. To do this, they wreck
the ship carrying it, having previously
loaded the dory, in which they escape, with
the treasure. In the meantime, one of the
ship's passengers, a George Stevenson
Cole, has fallen in love with Eva, and she
with him; but, her pleadings notwith-
standing, they leave him to perish with
the others. Miraculously, his life is saved,
but his troubles are by no means over.
Because he has a tale to tell, his life still
hangs in the balance, and it is not until
he escapes thru two or three reels of the
deadliest plotting that he wins the girl, and
is apparently assured two or three peaceful
years, thru the death of Sefior Santos and
the repentance of "Squire" Rattray.

This is one of the few pictures in which
the interiors have actually been filmed in-
side of the house shown in the story. The
winding stairways and large rooms, with
exquisitely carved woodwork, are not the
product of a studio carpenter's ingenuity,
but actually existed. This makes all man-
ner of effective shots possible, with action
on the outside — shown thru open door-
ways and windows — and on the inside, pos-
sible at the same time. Perhaps this was
necessary . . . for, as may be seen, there
is sufficient action.

It is unusual, too, in that it has two
climaxes, one in the beginning of the
story, in which there is an exceptionally
fine ship explosion — and it is not a. minia-
ture ship in a tank exploded for the occa-
sion, but the real thing — and a virile fight
before the story draws to a close.

Certainly the production does not aim
towards the artistically dramatic, and if •
the artists contributed any subtleties they
have been- sacrificed to the action, which
crams each and every reel. Tom Terris,
who directed "Dead Men," may not spe-
cialize in emotional scenes, but he does in
thrills.

As to» the cast : Percy Marmont plays
the hero adequately, while Holmes E.
Herbert is so very attractive as "Squire"
Rattray that you find yourself inadvert-
ently favoring his suit. George von Syffer-
titz is excellent as the master-mind, the
canny Scotchman, who goes his deadly
way under the name of Sefior Santos.

Catherine Calvert, who plays Eva, de-
serves a special word of mention. She is
quite the most ravishing vision shadowed
on the screen for many moons, but the
story gives her no opportunity to do much
more than look beautiful. However, she
does this so ably that you are not inclined
to notice anything else.

KISMET — ROBERTSON-COLE

"Kismet" is redeemed by Otis Skinner.
Bringing to the screen the beggar, Hajj,
which he has created on the stage for so
long a time, Otis Skinner's every movement
is a joj» to behold, his innate grace of bear-
ing and his subtle interpretations of the
emotions cause his scenes to stand forth
with an artistic radiance. And, fortunately,
he appears in many scenes.

Really, "Kismet" should need no redemp-
tion — it should have suggested purples and
silvers and rose and gold in a setting of
amber — instead it suggested a theatric Bag-
dad and now and then it creaked and
lumbered.

The story is that which Edward Knob-
lock dramatized from the Arabian Nights,
and Gasnier has produced it for the silver-

JONfllCTUR|

sheet. Too, a few hours reference work
would ' have obliterated the errors in the
manners and customs of the distant East
which it now contains and which strip it
of- any reality whatsoever for those who
are familiar with that part of the Orient
in which the action is laid.

Everyone knows the story of Hajj, the
beggar who enjoys the purple for one day,
who schemes and plans for his daughter
to marry one in high authority. Incident-
ally, the man he chooses has been in love
with his daughter for sometime, wooing
her over her garden wall in the guise of
the gardener's son. In the end the daugh-
ter goes to the palace and Hajj returns
to his begging stone outside the temple.

Rosemary Theby plays the favored lady
of the harem and Elinor Fair, Marsinah,
the daughter of Hajj; Nicholas Dunrer
and Herschel Mayall too are entrusted with
important roles, but it is Otis Skinner's
characterization only which you take from
the theater with you. He shines forth as
a gem in a dull setting.

THE DEVIL'S GARDEN — FIRST NATIONAL

This production, which, like "The Mas-
ter Mind," Lionel Barrymore's last screen
offering, was directed by Kenneth Webb,
strives toward the artistic ; but, except for
exquisite photography thruout and the at-
mosphere of several scenes, its striving is
in vain.

The story tells of a postmaster in an
English rural district, played by Mr.
Barrymore, and his wife, Mavis. His post-
mastership threatened, Mavis risks their
honor to save it. When her husband
learns of this, he murders the man in-
volvedj but his crime is not discovered.
Years later, when his wife brings a little
girl of the village 'Thfo their home to as-
sist •her,-' he finds that the girl tempts his
desires, even" as his wife had those of the
man +i« miirHprpH Terrified hv_tlie_f_eajr_of

i. lie ivi.ct3i.v-i

J W ■

to such- a great extent, he is frightfully
handicapped by his story material.

Mrs. Lionel Barrymore, listed in the
cast as Doris Rankin, also brings an artis-
try to the screen," and' her characterization
of the loving wife, Mavis, will linger in
the minds of her audiences.

TWIN BEDS — FIRST NATIONAL

If you didn't see "Twin Beds," quite as
boudoir ish as any bedroom farce before
or after, on the stage, it will undoubtedly
afford an evening's entertainment — espe-
cially if you dont feel that bedroom farces,
like the circus, are always the same.

But, on the other hand, if "Twin Beds"
amused you from the other side of the
footlights, it is safe to say that they wont
on the screen, because you'll know that
they're not successful, especially in apart-
ments where everybody else has 'em, and
husbands" coming home in the wee hours,
prohibition notwithstanding, get into the
wrong door, and, eventually, the wrong
twin bed. You'll know, too, just when
Serior Monti is going to hide from the
husband in the linen basket, and when he

'You look as though you % djust been
unwrapped from the tissue-paper!*'

Is It Simply a Perversity of
Nature That Some Complexions
Withstand Whipping Winter
Winds? Or Have the Favored
Few a Secret of Their Own?

HE long grey car sped
purringly through the
starlight to where the
. lights of the Country
Club glowed warm and inviting.
The girl threw back her head
ecstatically and let the crisp, wine-
like air stream against her cheeks.

"Oh, Alan! Isn't it simply glor-
ious with the wind-shield open,"
she gasped to the man behind the
wheel, who bent lower as the car
almost doubled its speed. "Let's
ride around just a tiny bit more be-
fore we go in, — it's too heavenly!"
The wind took the words almost
before they were out of her mouth.

A half hour later tfcfey 'burst breathless
and glowing into the club house, where
the roaring fire and gay music greeted
them cheeringly. In a few short minutes
they were gliding out on the floor.

"I say, Corina, — it was simply ripping
— that open windshield idea — but didn't
it play merry havoc with your complex-
ion? Even my tough old rawhide stings
like the deuce, while you— you look as

though you'd just been unwrapped from
the tissue-paper. "

Corina laughed gaily. " You're a dear to
say that, Alan, — but it isn't really me you
know, — it's Hinds Cream. It soothes the
skin so wonderfully I always put lots of it
on after motoring. It brings out the natu-
ral freshness and softness, — that's all!"

"As though that weren't enough," mur-
mured Alan, who held the usual mascu-
line dislike for cosmetics. "It makes you
look a thousand times better than any
paint or powder could!"

On every dressing table where you
find the daintiest appointments, you also
find Hinds Honey and Almond Cream.
For the cleverest women realize that
natural loveliness of complexion has a
charm high above all others,— and that
this Hinds Honey and Almond Cream,
long famous for its softening and purify-
ing qualities, is the surest way to a skin
of pristine freshness and radiance.

Delightful coolness is the first sensation
when applying Hinds Honey and Almond
Cream. ■ Then follows a wonderful heal-
ing and softening process— a remarkable
refining of the skin's texture which en-
hances its natural clearness.

May we send you "A Week-End Pack-
age" including Hinds Honey and Al-
mond Cream, both Cold and Disappear-
ing Cream, Talcum, Face Powder, Trial
Cake Soap? Enclose 50 cents, not foreign
stamps or foreign
money, please. Satn-
,--■-. iS^n-rt-^v-x pl e size Cream, each
ir^^Mpr* 5c - Talc, 2c. Face
GSilll Powder, 2c.

A. S. HINDS, 245 West Street, Portland, Maine

MEN, u/ko scorn the use of a
beauty lotion, find Hinds Honey
and Almond Cream ideal after
shaving. Ready to use, it heals
small cuts and scrapes, soothes,
cools and prevents chapping.

Coovriaht 1SS1 A. S. Hinds A

125 r

pole L

(pfB&Bfflt

Playing Cards

For Your Winter's Fun

There are yet a great
many of the old-fashioned
sort of people who enjoy
tranquil, quiet evenings and
a game of cards that is in-
teresting without being un-
duly exciting. Not everyone
has time to master the in-
tricacies of bridge, whist, the
more modern games. Not
everyone enjoys them.

Here is a game that is
restful yet jolly, easy yet
piquant, entertaining — even
educational — because it ac-
quaints one with the names
and faces of the best artists
of the stage and screen.
Why not lay aside your old
games and try our STAGE
PLAYING CARDS?
There are 52 cards and
joker, daintily painted in
pastel shades of pink, cream,
green and gold, gold-edged
and highly flexible, each
card bearing the photograph
of some popular player on
its back.

These cards need not be
hidden when not in use;
they are an ornament to any
living-room table, and in
offering them to you at 65c
we are giving you an un-
usual opportunity to add to
your store of wmter's fun.

BREWSTER PUBLICATIONS, INC.

175 Duf field Street Brooklyn, N.Y.

Announcement

These are the official photograph-
ers of Brewster Publications, Inc.:
Charles Albin, 1931 Broadway,
New York City, Phone 1716 Co-
lumbus; Samuel Lumiere, 574
Fifth Avenue, New York City,
Phone Bryant 5807; and Nickolas
Muray, 129 McDougal Street,'
New York City, Phone Spring
6321. All movie and stage stars
are invited to sit for any of these
celebrated artists at our expense,
and all others are recommended
to do so at their own.

Brewster Publications, Inc.

175 Duffield Street, Brooklyn, N. Y.

is going to seek refuge under one of the
title roles . . . and you wont be one bit
surprised in the very end when the' beds
are pushed together arid wifie, with her
"new-fangled ideas," agrees that hubby
is right, after all.

Mr. and Mrs. Carter DeHaven have
made as much out of the screen possibili-
ties of "Twin Beds" as could be made. Mr.
DeHaven, especially, contributes several
humorous incidents, but even he is not funny
enough to cause us to change what we said
some time ago about no farce being material
for a five-reel production.

THE CHARM SCHOOL — PARAMOUNT

In his latest offering, Wallie Reid, genial
and good-looking as ever, inherits a school.
You can imagine the rest. He resigns from
his position as automobile salesman and
takes the fair inmates of the institution
of learning by storm, with countless brok-
en hearts as the result. He determines
to teach the young ladies charm first, and
geometry and Greek afterwards, provided
there is time, 'in the end, the school
is discovered to belong to some one else
thru a will which was overlooked, but this
does not happen until one of the pupils
teaches the new and adored principal the
meaning of other things.

This is a picture very different from
anything Mr. Reid has done hefore. In
fact, it is not like any other picture we
have ever seen, and while the star has an
important role, he is not constantly on the
screen, which means that he is more wel-
come than ever when he does appear.

Lila Lee plays the girl, and she was
eligible for graduation the minute it be-
came a charm school.

WHEN THE PICTURE IN WHICH IS

THE HOME-TOWN GIRL

COMES TO TOWN

By Frank H. Williams

The Girl Who Was Her Best Child-
hood Friend : "I dont see anything about
her part to rave over. I think it's a mighty
poor part. And she doesn't treat her old
friends right. When I wrote to her and
asked her to tell the producers about me
so I could become a star right away, she
wrote back and told me to work up as
she's doing. I didn't think it was nice of
her at all."

The Young Man She Turned Down :
"I'm not saying anything, mind you, but you
know how movie actresses are. You know
all the stories you hear about movie high
life, and, well, you know how things go."

Her Father: "It's a great picture. I
thought'at first I might be a little preju-
diced in her favor, seeing as how I'm her
father, but everybody I've asked about
her work in this picture says she sure will
be starred before long."

The Woman Who Is an Unsuccess-
ful Writer of Screen Stories : "I dont
think she appreciates home-town folks or
has the right attitude toward her old home
at all. I sent her a beautiful story I've
written in which there is a splendid part
for her, and I suggested that she get the
company she is working for to buy it. And
she sent it back to me and told me she
wouldn't presume to try and tell the com-
pany what to buy, and that I ought to send
it thru the 'regular channels.' "

The Manager of the Theater Where
the Picture is Shown: "It's great stuff!
This city should be proud of its foremost
screen actress. She is a. coming star! See
this picture by all means ! ! ! !"

Her Mother : "Of course I'm delighted
that she is making such a big success, but,
oh, dear, I do wish Hollywood was nearer
home I"

126
ASC

The Answer Man

(Continued from page 123)

always an ease, and sometimes a happi-
ness, to have nothing. No man is so
worthy of envy as he that can be cheerful
in want. Dorothy Dalton, yes, in "The
Teaser," for Paramount. You want an
interview with Harrison Ford.

Ada B. — Ada, how could you? I read
every word of your twenty-four-page let-
ter, and I wont scold, because you ought
to be encouraged. You are a very prom-
ising writer. Hens, did you say? Oh, yes,
of course. The eagle is the bird to soar,
the hawk is king of the woods ; the mock-
ingbird can sing the score, but the hen
delivers the goods.

Ernest. — Well, Ernest, there are three
sexes — males, females and girls. Why,
Mary Pickford and Douglas Fairbanks
are planning to go to Europe again. They
are both producing now. Mary, in "Rag
Tag and Bob Tail." I suppose it is an-
other of her delightfully grotesque pic-
tures.

Vera W. — You are very good at repar-
tee, Vera. Repartee is perfect when it
effects its purpose with a double edge.
It is the highest ornament of wit, as it be-
speaks the coolest yet quickest exercise
of genius, at a moment when the emo-
tions are aroused. Betty Brice was Anne
in "The Sagebrusher."' No, she is not
married..

Madeline.— Yes, naturally, I like to
hear the nice things that are said about
this department. I believe that it was
Bulwer who said, "How a little praise
warm* out of a man the good that is in
him,- arid the. sneer of Contempt which he
feels to be unjust, chills the ardor to ex-
cel." Monte Blue, in "The Jncklins."
Alice Brady played in "Anna Ascends,"
on. the stage:
;owards the artistically dramatic, and if ■
he artists contributed any subtleties they
lave been- sacrificed to the action, which
rams each and every reel. Tom Terris,
vho directed "Dead Men," may not spe-
;ialize in emotional scenes, but he does in
hrills.

As to» the cast : Percy Marmont plays
he hero adequately, while Holmes E.
Herbert is so very attractive as "Squire"
Rattray that you find yourself inadvert-
ently favoring his suit. George von Syffer-
:itz is excellent as the master-mind, the
:anny Scotchman, who goes his deadly
ivay under the name of Sefior Santos.
Catherine Calvert, whn n1a-<"> i?*— A ~

Barrymore Fan. — Yes, Mile. Dazie, the
dancer.

Ben Turpin Admirer. — My, you want
to know at lot. Stuart Holmes, in "The
New Moon." Eugene O'Brien, in "Her
Only Way." Casson Ferguson, in "The
Shuttle." Henry King and Marie Osborne,
in "Joy and the Dragon." Bryant Wash-
burn and Marguerite Clayton, in "The
Prince of Graustark." Dont mind me;
that's what I'm here for. Kindly close
the door behind you.

Well Balli. — Send a stamped addressed
envelope for list of manufacturers.

Mae V. — You will never be arrested for
speeding. Sure thing. Well, if you are
on a fruit and vegetable diet, your liver
will have three times less work to do
than if you were on a meat diet. After
all, the way we live depends upon the
liver. Why, Bryant Washburn, in "The
Road to London." This picture was
made in London and the first picture by
his own company. Joan Morgan opposite.
Smithy. — Go ahead and tell me the
joke. Phyllis Haver is not married, and
I dont know whether she is willing to be.
You must come in and we will talk it over.

UPWARD LANGEK I'lIINTINc; CO., INC.,
NEW 10KK, N. V.

Washing, for beauty

THIS is to tell you how to make washing your face
tne most important of all beauty treatments. How
to wash so thoroughly that every tiny pore and minute
gjand is cleansed from poisonous accumulations of
dirt and oil. Yet to wash so gently that your com-
plexion is soothed as you cleanse it.

The secret is using the right soap — soap with a mild,
lotion-like lather. And m using, such soap scientific-
ally, as we explain here.

Wash with Palmolive and your two hands

Palmolive Soap makes a wonderfully profuse, creamy
lather, which you should work up and apply with
your two hands. Use these same hands for rinsing.
Use tepid water, but finish with ice cold.

Apply as much Palmolive Cold Cream as the skin
will absorb, wiping, ofFthe surplus. Then look in the
mirror and admire the becoming freshness "and rosy
bloom of your complexion.

Just before g,oing, to bed is the ideal time for this
thorough cleansing,. If your skin is unusually dry,
we advise using, Palmolive Cold Cream before you
begin washing,. This supplies the lacking, natural oil
and keeps your skin smooth and supple.

Why Palmolive is so mild

Because it contains the mildest, most g,entle of natural
cleansers — the Palm and Olive oils discovered 3,000
years ag,o in ancient Eg,ypt.

Cleopatra knew their value — they served her both
as cleanser and cosmetic. They adorned the marble
baths of the Greeks and Romans. Today their scien-
tific combination in Palmolive Soap achieves the final
toilet luxury.

Why it doesn't cost more

Users of Palmolive may wonder why it isn't very ex-
pensive. Why this extra fine facial soap can be bought
at the price of other soaps.

The answer is— Palmolive is so popular that it forces
production in enormous quantity. The Palmolive fac-
tories work day and nig,ht, ingredients are purchased
in almost unbelievable volume.

The result is a moderate price which puts Palmolive
within the reach of everybody, everywhere.

Palmolive is sold by leading, dealers and supplied in
g,uest-room size by America's most popular hotels.

THE PALMOLIVE COMPANY, MILWAUKEE, U. S. A.

THE PALMOLIVE COMPANY OF CANADA, LIMITED. Toronto, Ontario

PALMOLIVE

„<^

it Litt

RUTH ROLAND

You must give Nature the aid she needs in
keeping the skin pores active. This means
washing your face and washing it thor-
oughly, regularly, every day.

Cold cream alone won't do — you mustn't
depend upon it entirely for cleanliness. It
catches dust and helps fill up the tiny pores
instead of cleansing them.

You needn't be afraid of the effect of soap
on the skin — not if your soap is right.
Use Palmolive and make washing a daily
beauty treatment.

Palmolive is the mildest of soaps and the
gentlest of cleansers. Palm and Olive oils
— ingredients of Palmolive — were ancient
Egyptian cosmetics. Cleopatra used them
as beautifiers as well as cleansers.

Use your two hands

This mild, gentle soap produces a profuse
creamy lather which you should apply to
your face with your two hands.

Massage it softly into your skin, so as not
to roughen its delicate, sensitive texture.
Then just as gently rinse it away.

A fine and fresh complexion

The gentle washing and rinsing stimulates
minute glands and capillaries to beneficial
action. This keeps your complexion fine
and fresh and encourages natural, becom-
ing color.

Be liberal with Palmolive Cold Cream if
your skin is dry. Apply it before washing
and again after, and your skin will be
beautifully smooth.

Why Palmolive isn't
50 cents a cake

If made in small quantity it would be. We
can't make it better.

The gigantic demand for Palmolive keeps
the price moderate It keeps the Palmolive
factories working day and night, which
reduces manufacturing cost.

It permits the purchase of the costly oils,
imported from overseas, in such vast vol-
ume that the price is much reduced.

Thus Palmolive is popular priced -— no
more than ordinary toilet soaps.

It is for sale by leading, dealers everywhere
and supplied in guest-room size by Amer-
ica's popular hotels.

It carries with it all dangerous, clogging
accumulations — the dust and oil secre-
tions, the remains of the day's rouge and
powder. It leaves your skin healthfully,
thoroughly clean.

THE PALMOLIVE COMPANY
Milwaukee. U. S. A.

Cef«£!

The true
of C

>ot*trait

ctrola

Celeste Aida gl

... jiCt**«<? 'Act!) SI

(61uMSClV«l>» "*

Enrico Caruso
88127

When you hear a Victor Record of Caruso's voice
played on the Victrola, you hear the great tenor ex-
actly as he wishes you to hear him. Only the Victor
process of reproduction can bring out all the wonder-
ful beauty of tone which the Victor process of
recording put into the record.

After their records have passed the critical judg-
ment of the officials of the Victor Recording Labor-
atory, the great artists who make Victor Records pass
judgment upon themselves as they are heard on the
Victrola and they must give the final approval before
any of their records are released to the public.

Victrolas $25 to $1500. Victor dealers everywhere.

Victor Talking Machine Co., Camden, N. J.

"HIS MASTERS VOICE"

This trademark and the trademarked
■word "Victrola" identify all our products
'Look under the lid ! Look on the label '
LVICTOR TALKING MACHINE CO.
Camden, N J.

MOTION piCTURF

'I I MAGAZINE _ l.

What 1921 and Paramount
Pictures have in store for you

TQOI * s going to be a banner year in
J-*/^A the motion picture industry.

The extraordinary Paramount Pictures
to be released will alone make it such.

■All through the past year, and all over
the world, the immense plans of Para-
mount have been in preparation for your
1921 entertainment.

1921 and Paramount will give you a
flaming new idea, a totally new and mag-
nificent conception of what the screen can
mean to you!

Ideals plus immense organization —
basis of Paramount supremacy

The basis of Paramount's supremacy
will continue to be one of immense organ-
ization both in production and distribution
of motion pictures, and unlimited resource
of talent, money, physical equipment and
imagination.

Paramount has enough studios and pro-
ducing plants to equip forty ordinary mo-
tion picture companies. The chief of these
studios are in California, New York, and
London, England.

The whole world-wide producing organ-
ization of Paramount Pictures proceeds on
a basis of assured success for the photo-
plays produced. That is, thousands of the-
atres in fifteen civilized countries are wait-
ing and eager to show them, and their
audiences to see them.

Only Paramount organization can
give Paramount quality

Neither time nor money, neither endless
trouble nor terrible hazards of physical
danger and difficulty, are spared to achieve
striking results.

In some Paramount Pictures in 1921 you
will see The Alps, for example, as mere
items of the staging of a single scene. If
the tropics are required, or the arctic zone,
the tropics and the arctic zone you will get.

In other 1921 Paramount Pictures you
will see whole groups of great stars in the
same picture.

One instance of many: in the cast of
"The Affairs of Anatol," the play by the
great Viennese dramatist, Arthur Schnitz-
ler, directed by Cecil B. DeMille, there are
no fewer than eight stars: Wallace Reid,
Gloria Swanson, Elliott Dexter, Wanda
Hawley, Bebe Daniels, Agnes Ayres, The-
odore Roberts and Theodore Kosloff. All
this galaxy of talent in one Paramount
Picture, and there will be 104 of them in
1921 for you!

1921 will carry on the great national suc-
cess of Paramount as represented by the
high water-mark it touched during the
National Paramount Week in September,
1920, when more than six thousand Amer-

ican theaters showed nothing but Para-
mount Pictures, and sixty-seven cents of
every dollar that was paid to enter motion
picture theaters was paid to enter those
theaters which were foresighted enough to
have Paramount.

Foresighted is right, because there was
not a single print of any Paramount Pic-
ture, not a single, solitary reel, that was
not working.

The people were out for. Paramount then
as they will be throughout 1921.

Greatest authors of Europe and

America wHting for Paramount

Pictures

In addition to the most successful American direc-
tors, dramatists and novelists, who are naturally at-
tracted by the sheer artistic supremacy afforded their
work by the Paramount equipment, it is now history
that the greatest dramatists of Europe, men of im-
mortal fame, are working and devising subtle new
plots for Paramount. Some of them have already
arrived over three thousand miles of ocean to collabo-
rate more closely with the Paramount producing .or-
ganization for your delight.

Paramount is'the name which has enrolled Sir James
M. Barrie, Henry Arthur Jones, Edward Knoblock,
Sir Gilbert Parker, Avery Hopwood, Elinor Glyn, Sir
Arthur Wing Pinero, Joseph Conrad, Cosmo Hamil-
ton, Arnold Bennett.

Paramount is the name of the organization which
affords the greatest scope for the greatest directors,
men of the stamp of Cecil B. DeMille, William De-
Mille, George Fitzmaurice, George Melford, William
D. Taylor, Hugh Ford and Charles Maigne.

Distinguished artists and connoisseurs of stage de-
sign, such as Penrhyn Stanlaws and Paul Iribe (the
great Parisian designer), contribute their special talent
to Paramount. In short, it is a fact that Paramount
utilizes the services of all sorts of skill and craftsman-
ship whose function ordinary picture producers are
not even aware of.

Paramount spends more on the perfect titling of
great feature pictures than some producers spend on
the whole job.

Paramount has a special fashion Atelier in Paris so
that the women in the audience of your theatre shall
get le dernier cri in gowns and hats with every Para-
mount Picture. See Paramount Pictures and you see
the new Paris styles first.

Paramount has first call on the greatest American
stories in the greatest American magazines when the
stories are suitable for the films.

Every form of printed or spoken drama that might
be suitable for Paramount Pictures is examined.
Everything useful published in Italian, Spanish, Ger-
man or French is steadily translated. Synopses are
made of every stage play produced in America, Paris,
Berlin, Vienna, London and Rome.

No one else can give the exhibitor or motion pic-
ture enthusiast half as much.

It all comes down to immense organization, and
Paramount has it.

EverylSOth person you meet in the street today will
see a Paramount Picture today!

The simple way to tell
a good theatre

Not a good theatre anywhere but books as many
Paramount Pictures as its patrons can throng to see!

Counting foreign theatres, over one hundred mil-
lion people paid to see Paramount Pictures in 1920.

Your cue is — find the words "A Paramount Picture"
in the newspaper advertisements of your theatre, or
in the lobbies or on billboards.

Find them, before you go in, for that always means
a great show and a crowded house !

(paramount pictures

: FAMOUS PLAYERS ~LASKY CORPORATION

ORP«, JESSE L LASKY lv, P-„ CECILD DEMULE B^cto. £,>,.«( *'

Some of the coming

PARAMOUNT

PICTURES

Roscoe ("Fatty") Arbuckle in
"Brewster's Millions"

Dorothy Gish in
"The Ghost in the Garret"

Cecil B. DeMille's Production
"Forbidden Fruit"

Douglas MacLean in "Chickens"
A Thomas H. lnce Production

A Cosmopolitan Production

"The Passionate Pilgrim" ;

with Matt Moore

Charles Maigne's Production

"The Kentuckians,'" by John Fox, Jr.;

with Monte Blue

Ethel Clayton in
"The Price of Possession"
A Hugh Ford Production

Dorothy Dalton in "The Teaser"

Thomas Meighan in "The Easy Road"

A George Melford Production

"The Faith Healer"

William Vaughan Moody's famous play;

with Milton Sills and Ann Forrest

A Cosmopolitan Production
"Buried Treasure"; with Marion Davies

Roscoe ("Fatty") Arbuckle in
"The Traveling Salesman"

A Robert Z. Leonard Production
Mae Murray in "The Gilded Lily"

Sir James M. Barrie's

"Sentimental Tommy"

A John Robertson Production

Sir James M. Barrie's
"What Every Woman Knows"
A William DeMille Production

Wallace Reid in Frank Spearman's Story
"The Daughter of a Magnate"

Sydney Chaplin in

"King, Queen and Joker"

A Sydney Chaplin Production

A Hugh Ford Production

"The Great Day"

The Famous Drury Lane Melodrama

A Famous-Lasky British Production

"The Mystery Road" ; with David Powell

By E. Phillips Oppenheim

Thomas Meighan in "The Quarry"

A Cosmopolitan Production

"The Manifestations of Henry Ort" ;

with Matt Moore

A George Melford Production

"You Can't Fool Your Wife"

By Hector Turnbull

A George Loane Tucker Production
"Ladies Must Live"
By Alice Duer Miller

A Hugh Ford Production

"The Call of Youth"

By Henry Arthur Jones

A Famous-Lasky British Production

A Cecil B. DeMille Production

"The Affairs of Anatol"

By Arthur Schnitzler

Roscoe ("Fatty") Arbuckle in

"The Dollar a Year Man"

A Famous-Lasky British Production

"Appearances," by Edward Knoblock

A Cosmopolitan Production, "Love Piker"

Douglas MacLean in "One a Minute"
A Thomas H. Ince Production

A William D. Taylor Production

"The Witching Hour" ; with Elliott Dexter

By Augustus Thomas

Wallace Reid in "Free Air"
By Sinclair Lewis

Elsie Ferguson in

"Sacred and Profane Love"

By Arnold Bennett

Wallace Reid in "Watch My Smoke"

Gloria Swanson in "Everything For Sale"

A William DeMille Production
of an original script by Edward Knoblock

Gloria Swanson in a new story by
Elinor Glyn

A George Melford Production

Dorothy Dalton in "The Monev Master"

By Sir Gilbert Parker

A Cecil B. DeMille Production

of an original story by Avery Hopwood

Author of "The Gold Diggers"

I 1

9/S?/
CI.B486248 A BREWSTER

>TION

Established December, 1910. "We lea ow," and it was ever so

Motion Picture Magazine

(Trade-mark Registered)
Founded by J. Stuart Blackton

Vol. XXI ' \ MARCH, 1921 ' Noj

Enterel at the Brooklyn, N. Y., Post Office as secovjf-class matter.
Jopyright, 1921, in United States and Great Britain by
Brewster Publications, Inc. y
Subscription — $2.50 a year \z§ advance, including postage in the United States, Cuba, Mexico and Philippines; in Canada.
$3.00; in foreign countries and Newfoundland, $3.50. Single copies, 25 cents, postage prepaid. U. S. Government Stamps ac-
cepted. Subscribers must notify us"t once of any change of address, giving both old and new address.

Issued on the 1st of the month preceding its date and on sale by all newsdealers.

Published by Brewster Publications, Inc., Adele Whitely Fletcher, Editor

a New York Corporation.
EUGENE V. BREWSTER, President and Editor-in-Chief Frederick James Smith, Managing Editor

E. M. HEINEMANN. Secretary „ „ „ „..,.„

ELEANOR V. V. BREWSTER, Treasurer Hazel Simpson Naylor Guy L. Harrington

Principal place of business, 175 Duffield Street, Brooklyn, N. Y. Pa "fc Coast Representative D u N " c """ A . DobX''jr. "
(Also Publishers of the Motion Picture Classic, out on the Gladys Hall Director of Advertising

fifteenth of each month, and Shadowland, out on the _ . -p _ Frfnch Inr

twintv thirHI CAPITOLA W. AsHWORTH KUFUS TRENCH, live.

twenty-tniraj Eastern Manager

E. M. Heinemann Aui-t-tfr A TCtwc Tnc

™^™ T Add ^!L~r ,0 n;°A ^ A ™tt- ^ociate Editors ^WesSetn" Mallglr^

MOTION PICTURE MAGAZINE i&™ b ha*»

«->i- i-v rr- < 1 o. t. t « i«t it . ,, „ New England Manager

175 Duffield Street, Brooklyn, N. Y. A. M. Hopfmuller l . q Conlon

Member of the Audit Bureau of Circulation Art Director Chief Accountant

CONTENTS pal.

Gallery of Players 11

Portraits in gravure of Claire. Windsor. Jean Paige, Harold Lloyd, Anna Q. Nilsson,
James Kirkwood, Margaret Loomis, Corinne Griffith, Clyde Fillmore and lna Claire.

Nature's Temple 20

The Human Picture Maurice Tourneur 21

Floating Island on Olympus Adele Whitely Fletcher 22

A personality story of Norma Talmadge.

The Importance of Being In Earnest Beth Trepel 24

A word picture of Conrad Nagel.

Spain Comes to Three Corners 26

That Continental Flavor 27

The Lady of the Big White House Elisabeth Peltret 28

A story of Katherine MacDonald's career and personality.

Nazimova Cerline Boll 30

A sketch of the great actress.

Out of the Chorus Norman Bruce 31

The novelization of Alice Brady's newest picture.

Who Makes the Movies? . .Elton Kelley 36

Just Folks Lillian Montanye 38

Contest Brings Deluge of Beauty 40

That's Out Tamar Lane 42

Merry Mildred 43

The Miracle Girl Hazel Simpson Naylor 44

An interview with Betty Compson.

The Sunlit Mount - Maude Cheatham 46

A sketch of Carmel Myers.
The Spirit of Harmony Betsy Bruce 48

A word picture of James Rennie.

Forbidden Fruit Gladys Hall 49

A new Paramount release, told in story form.

A Toiling Lily Maude Cheatham 54

New lights on Dorothy Devore.

Dorothy Gish 56

A picture page.

As In Life Barbara Beach 57

The real story of King Vidor.

The Editor's Page 59

What Makes a Photodrama? John Emerson and Anita Loos 60

The Muse of the Reel Aline Carter 62

Lois Weber in an interview.

Food, Folly and Fame Frederick James Smith 64

Lying Lips Ja " et R eid 65

Florence Vidor's new picture in story form.

A Star in the Dawning Gladys Hall 70

With Kings Lillian May 72

The Ideal Screen Baby 73

Across the Silversheet Adele Whitely Fletcher 74

California Chatter 78

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Stage Plays Tkat Are Wortk While

Readers in distant towns will do well to preserve this list for future reference.

Apollo. — "Jimmie." The pert little
Frances White's first starring vehicle
and a rather lame musical entertain-
ment. Miss White introduces several
typical garni i numbers and her sur-
rounding company includes Ben Welch
and Harry Delf.

Astor. — "Cornered," with Madge
Kennedy. A crook melodrama by Dod-
son Mitchell, in which Miss Kennedy,
fresh from several years on the screen,
plays a dual role: a slangy girl of the
underworld and a young woman of so-
ciety. Far fetched, but possessing in-
terest. Miss Kennedy is charming.

Belasco. — "Deburau," with Lionel At-
will. One of the notable events of the
stage year is this Granville Barker's
translation of ,Sacha Guitry's drama,
built around the famous French master
of pantomine of the 30's. Written with
poetry, insight and distinction. Famous
characters of the period, including
Marie Duplesis, the "Lady of the Ca-
melias," Armand Duval, Victor Hugo
and George Sand, appear in the drama.
Superbly staged by Mr. Belasco, with
all his old uncanny stage craft, and
splendidly acted by Mr. Atwill, Elsie
Mackaye, Hubert Druce, Morgan Far-
ley, John L. Shine, Rose Coghlan and
an altogether perfect cast.

Bijou. — "The Skin Game." A new
and decidedly interesting drama by
John Galsworthy. One of the real
things of the dramatic season. A study
in class strife which many critics look
upon as a miniature study of the late
world war. Will absorb you. Very well
played.

Booth. — "The Prince and the Pau-
per," with William Faversham. New
adaptation of that interesting Mark
Twain fantasy of boyhood in merrie
England of the old days. Well staged
by Rollo Peters and acted with con-
siderable spirit, particularly by Mr.
Faversham.

Casino. — "Honeydew." Pleasant mu-
sical entertainment with charming score
by Efrem Zimbalist, the violinist. Mile.
Marguerite and Frank Gill score with
their dancing.

Central. — "Afgar." Oriental extrava-
ganza featuring Delysia, fresh from
London and Paris. Hide your blushes
before you go to this. Delysia has a
certain naughty piquancy. The chorus
is costumed in special Paul Poiret cre-
ations.

Century. — "Mecca." A gorgeous and
elaborately colorful "mosaic in music
and mime" of ancient Egypt along the
lines of "Chu Chin Chow." "Mecca"
achieves several rarely beautiful mo-
ments in the ballet interludes created
by Michel Fokine. A huge cast and
fourteen scenes.

Cohan & Harris. — "Welcome Stranger,"
Aaron Hoffman's story of a Shylock in a
New England town. Presents the battle of

Jew and Gentile in a way that the Hebrew
gets much the best of it, teaching a whole
town kindliness and religious toleration.
George Sidney is excellent as the twentieth
century Shylock.

Eltingc. — "Ladies' Night." About the
most daring comedy yet attempted on
Broadway. This passes from the boudoir
zone to the Turkish bath on ladies' night.
Not only skates on thin ice, but smashes
thru now and then. John Cumberland is
admirable.

Forty-Eighth Street. — "The Broken
Wing." A lively and well worked out me-
lodrama of adventure below the Rio
Grande. The opus of an aviator who falls
in Mexico, thereby losing his memory and
his heart, the latter to a dusky senorita.
Full of excitement and possessing a well
done characterization by Alphonze Ethier.

Forty-Fourth Street. — D. W. Griffith's
master-production of the rural melodrama,
"Way Down East." Splendid in many ways
w : th many moving moments and the biggest
— and most thrilling — climax since the ride
of the clansmen in "The Birth of a Nation."

Hippodrome. — "Good Times." Another
big and picturesque Hippodrome spectacle.
Nothing like it anywhere else on earth.
Plenty of entertainment.

Lyric. — "Her Family Tree," with Nora
Bayes. Brisk and tuneful musical show
with the ever forceful Nora. Attractive
cast, chorus and costuming.

Nezv Amsterdam Roof. — Ziegfeld 9 o'-
clock and midnight revues. Colorful enter-
tainments unlike anything to be found any-
where else.

Nora Bayes. — "Three Live Ghosts." De-
lightful comedy of three soldiers, reported
killed in Flanders, who return home to find
surprising problems awaiting them. Adap-
ted by Frederic S. Isham from his own
novel. Splendidly played by Beryl Mercer,
Charles McNaughton, Stewart Wilson,
Cyril Chadwick and Charles Dalton.

Palace. — Keith Vaudeville. The home
of America's best variety bills and the fore-
most music hall in the world. Always an
attractive vaudeville bill.

Punch and Judy.— "Rollo's Wild Oat,"
with Roland Young. Light and frothy
comedy in Clare Kummer's typical sketchy
style. The story of a young man who
wants to do Hamlet and what comes of his
ambition. Replete with fancifully humor-
ous lines. Excellently done by Mr. Young,
(Continued on page 8)

LAGC

« OT ^ ,CT

'»mv — — —

hlL

k ^Vly

j ..iiikj

XHELENE CHADW1CK - CLARA WILLIAMS - LOUISE FA2ENDA - RUTH ROLAND - RUTH STONEHQUSE 'MAY ALLISON

In "The Wonder Book for Writers," which we will send to you ABSOLUTELY FREE, these famous Movie
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Big opportunities NOW.
Qualify for this fasci-
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months* course covers all
branches:
MOTION PICTURE— COMMERCIAL — PORTRAITURE

Camera* and AfatpriaU furnished free
Practical instruction; modern equipment. Day or even-
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Superiority. Call or write for complete catalog No. ■'•
N. Y. INSTITUTE OF PHOTOGRAPHY
141 Wert 36th St, New York or $05 State Street, Brooklyn

Copy this Sketch

And let me see what you can
dn with it. Many newspaper
artists earning $30.00 to $200.00
or more per week were train-
ed by my course of personal
individual lessons by mail.
PICTURE CHARTS make
original drawing easy to
learn. Send sketch of Uncle
Sam with 6c in stamps for
a&mple Picture Chart, list of
successful students, examples
of their work and evidence of
what YOU can accomplish.
Please state lour age.

The Landon School ™X™7uTc?Z1Tq.

Be a "Movie"
Photographer

Earn $50 to $200 weekly

E.BRUNEL COLLEGE

of PHOTOGRAPHY

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Day or night classes. 3 months' cou —

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*<J

complete Instruction In

Stage Plays Tkat Are Wortk
While

(Continued from page 6)

Lotus Robb, Dore Davidson and J. M. Ker-
rigan.

Selwyn. — "Tickle Me." An Arthur Ham-
merstein early autumn show with the
amusing Frank Tinney starred. Consider-
able fun, some tuneful music and a very
personable chorus. Likewise gorgeous
costuming.

Selwyn. — The Provincetown Players in
Eugene O'Neill's "The Emperor Jones."
Special matinees only. Everyone should see
O'Neill's remarkable study in primitive
fear. Very well acted.

Shubert. — "Greenwich Village Follies of
1920." Gorgeous and beautiful, as typical
of John Murray Anderson productions.
Here is a musical entertainment with im-
agination and charm. James Reynolds has
created some remarkable scenes and cos-
tumes and the whole ensemble is vivid and
colorful.

Thirty-Ninth Street. — "Samson and De-
lilah," with Ben-Ami. A fairly interesting
play given the breath of life by the most
promising new figure On the stage since
Jack Barrymore became John Barrymore.
Ben-Ami is making his step from the Yid-
dish stage and his first appearance in Eng-
lish. His debut has been sensational. Ben-
Ami is given excellent support by Pauline
Lord and an admirable bit is contributed
by Edward G. Robinson.

Times Square Theater. — "The Mirage,"
with Florence Reed. The first offering in
Broadway's newest theater. Edgar Sel-
wyn's drama of New York's easiest way:
the tale of a country girl who comes to the
white lights and forgets her ideals. Miss
Reed plays the girl and prominent in the
cast are Alan Dinehart, Malcolm Williams
and Florence Nash.

Vanderbilt. — "Irene." Now on its
'steenth season and likely to run on for-
ever. Charming and pretty musical comedy
with an appealing story. Patti Harrold,
daughter of Orville Harrold, is now the
Irene and she is delightful. You will hear
more of her.

Winter Garden.— "The Passing Show of
1921." Typical Winter Garden entertain-
ment.

On Tour.

.AG£

"Kissing Time." Slender musical enter-
tainment with William Norris and Edith
Taliaferro featured.

"One," with Frances Starr, Edward
Knoblock's opus of twin sisters with but
half a soul apiece. Neither sister can get
along without the other, hence the drama.
Miss Starr plays the twins. Mr. Belasco's
handling of this play saves it from slip-
ping over the line from serious drama.

"Call the Doctor," Jean Archibald's
slender little comedy built around a charm-
ing feminine doctor of domestic difficul-
ties. The production shows David Belas-
co's smooth stage direction and is very
well acted, particularly by Janet Beecher
as the physician in question.

Loew's N. Y. and Loew's American.
Roof. — Photoplays ; first runs. Daily pro-
gram.

Loew's Metropolitan, Brooklyn. — Fea-
ture photoplays and vaudeville.

Capitol. — Photoplay features plus a de
luxe program. Superb theater.

Rivoli. — De luxe photoplays with full
symphony orchestra. Weekly program.

Rialto. — Photoplays supreme. Program
changes every week.

Strand. — Select first-run photoplays.
Program changes every week.

THIS BOOK

Is Just What
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Whether your ambition is to write and sell
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magazine articles, or any other kind of manu-
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THE KEY TO SUCCESSFUL WRITING
contains SIXTY-FIVE HELPFUL SUG-
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and publisher. Practically every fundamental
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Important Things You Must Know

THE KEY TO SUCCESSFUL WBITING is FEEE
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Today Is Your Opportunity

The ability to write does not come overnight. It
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the book will be sent by return mail POSTPAID, AB-
SOLUTELY FEEE.

ATLAS PUBLISHING COMPANY
535 Butler BIdg. Cincinnati, Ohio

LEISN

Movie Acting!

SEXUAL

KNOWLEDGE

ILLUSTRATED

By Wlnneicf Scott Hall, M. D.. ;>h.D.

SEX FACTS MADE PLAIN

What every young man and

Every young woman should know
What every young husband and

Every young wife should know
What every parent should know

Cloth binding — 320 pages — many illustrations

Tabic of contents and commendations
on request

Co., 361 Winston BIdg., Philadelphia

I Postpaid

I Mailed in plain

I wreppcr_ .■*
I American Pub.

« c

AGENTS WANTED

Agents— $40-$100 a Week— Free Samples. Gold
Sign Letters any one can put on store windows.
Big demand. Liberal offer to general agents.
Metallic Letter Co., 431 F. N. Clark St., Chicago.

Agents — Snappiest Household Line on Earth ; Bed-
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BEAUTY PREPARATIONS

Superfluous Hair Permanently Destroyed with
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COINS AND STAMPS

COLLECT OLD COINS for pleasure and profit.
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OLD MONET WANTED— $2 to $500 each paid
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Old Money. Send 10c for New Illustrated Coin
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for Book of Facts and Photos. Lake County Land
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Park, Florida.

FEMALE HELP WANTED

WOMEN to Sew. Goods sent prepaid to your door ;
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At Once — Five bright, capable ladies to travel.'
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week, railroad fare paid. Write at once. Good-
rich Drug Co., Dept. 60, Omalia, Nebr.

FILMS DEVELOPED

Mail Us 20c with any size film for development and
six velvet prints. Or send six negatives any size
and 20c for six prints. Or send 40e for one 8x10
mounted enlargement. Prompt, perfect service.
Boanoke Photo Finishing Co.. 206 Bell Ave.,
Roanoke, Va. •

FOR THE HAIR

Stop Falling Hair — Use Kotalko (sold by drug-
gists) under guarantee. Amazing success : new hair
growths when all else failed. Proof box mailed,
10 cents. Kotalko Offices, BB-181, Station X,
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FOR THE LAME

HELP WANTED— MALE

Be a Detective — Excellent opportunity ; good pay ;
travel. Write C. T. Ludwig, 556 Westover Bldg.,
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Men Wanted for Detective Work. Experience
unnecessary. Write J. Ganor, Former Govt. De-
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GAMES AND El

MENTS

PLAYS, VAUDEVILLE ACTS, Monologues, Dia-
logs, Recitations, Pageants, Musical Readings,
Special Entertainments, Tableaux, Drills, Minstrel
Jokes. Make-up Goods. Large Catalogue Free. T. S.
Denison & Co.. Dept. 62, Chicago.

JEWELRY, ETC.

MAIL DIRECT TO THE REFINERS any old

MOTION PICTURE BUSINESS

NEWS CORRESPONDENCE

Earn $25 Weekly, spare time, writing for news-
papers, magazines. Experience unnecessary ; de-
tails free. Press Syndicate, 560 St. Louis, Mo.

PATENTS

Patents Secured — Prompt service ; avoid danger-
ous delays. Send for our "Record of Invention"
form and Free Book telling How to Obtain a Pat-
ent. Send sketch or model of your invention for
Preliminary Examination and Advice FREE.
Charges reasonable. Write TODAY. J. L. Jack-
son & Co., 129 Ouray Bldg., Washington, D. C.

PHOTOPLAYS

Stories and Photoplay Ideas Wanted by 48

companies ; big pay. Details free to beginners.
Producers League, 441, St. Louis, Mo.

$1200 a Year Writing Photoplays — You can

write them. Turn your ideas into dollars. We
teach only snre method. Send for free book valu-
able information and special prize offer. Chicago
Play Coll., Box 278-B-23, Chicago.

Photoplay Plots, Short Stories, Articles, Poems,
etc., Arranged and Typewritten in proper manu-
script form. Submit manuscript or send stamp for
rates. H. L. Hursh, Dept. 2, 123 So. Third St.,
Harrisburg, Pa.

Ambitious Writers of Photoplays, Short Stories,
etc., send today for free, valuable, instructive book,
"KEY TO SUCCESSFUL WRITING," including 65
helpful suggestions on writing and selling. Atlas
Publishing Co., 503 Butler Bldg., Cincinnati, O.

Photoplays and Ideas Wanted for California
Producers. Also Stories. Articles, etc. Criticism
free ; sell on commission. Placing of acceptable
MSS. assured. Plot Chart free to beginners — cor-
respondence course or experience unnecessary if you
have ideas. Submit MSS. or write. Harvard Com-
pany, 220, Italian-American Bank Bldg., San Fran-
cisco, California.

BE A

"ijREALPlANIST

r-'^sH —

Be a Jazz Music
Master

Yesi you can, even if
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Easy to Learn
Many Masters of Jazz
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Hum tne Tune,

Play it by Ear
Hear a new popular song
hit, hum it then play it.
All by ear. Just think of
the happiness this easily
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JAZZ the newest song suc-
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J done by ear.

Be a Jazz Music Master. |

FREE BOOK

SEND COUPON
FOR DETAILS AND

Ronald G. Wright, Director

Niagara School of Music, Dept.347 Niagara Fall«, N.Y.

Without obligation to me, please mail to address
below, your booklet, "The Niagara Method. .

Name • •

Street. ■ • • • • \

City State

THE PHOTOPLAYWRIGHT'S

PRIMER

By L. CASE RUSSELL

Do you think you can write
"as good" stories as you see on
the screen ? You can write
them 100% better. Master the
technique of photoplay writing,
so simply presented in this little
book. . A child can understand
it. Send fifty cents in stamps.

BREWSTER PUBLICATIONS, Inc.
175 Duffield St., Brooklyn, N. Y.

SCENARIOS WANTED

Exchange Plots For $$ — Photoplay ideas accepted
any form ; revised, typed, published, copyrighted.
Sold. Advice free. Universal Scennrio Corp., 262
Western Mutual Life Bldg., Los Angeles.

SCIENTIFIC

Do You Wish to Know whether you will be suc-
cessful, win friends, be happy or the reverse?
Wonderful results. The "Key to Success" and
Personality Sketch for 10c and birthdate. Thom-
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Francisco.

STORIES WANTED

Earn $25 Weekly, spare time, writing for news-
papers, magazines. Experience unnecessary: de-
tails free. Press Syndicate, 560 St. Louis, Mo.

Stories, Poems, Plays, etc., are wanted for pub-
lication. Good ideas bring big money. Submit
JIMS, or write Literary Bureau. 134 Hannibal, Mo.

VAUDEVILLE

GET ON THE STAGE. I tell you how ! Send 6c
postage for instructive Stage Book and particulars.
B. LaDelle, Box 557, Los Angeles, Calif.

PA£li

(pM°I!^?!S ul t

Blackhead

Try this famous treatment
for Blackheads

Apply hot cloths to the face until
the skin is reddened. Then with a
rough washcloth work up a heavy
lather of Woodbury's Facial Soap and
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motion. Rinse with clear, hot water,
then with cold — the colder the better.
If possible, rub your face for thirty
seconds with a piece of ice. Dry care-
fully. To remove the blackheads al-
ready formed, substitute a flesh brush
for a washcloth in the treatment above.
Then protect the fingers with a
handkerchief and press out the black-
heads.

eaas are a comession

BLACKHEADS are a con-
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the wrong method of
cleansing for your type of skin.
Try the treatment given above
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Make this treatment a daily
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You will find treatments for
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skin in the booklet wrapped
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bury's Facial Soap. Get a cake
today and begin tonight the
treatment your skin needs. A
25 cent cake is sufficient for a
month or six weeks of any
Woodbury facial treatment and

for general cleansing use for
that time. Woodbury's is on
sale at drug stores and toilet
goods counters throughout the
United States and Canada.

A miniature set of the Wood-
bury skin preparations will be
sent you for 25 cents. This set
contains your complete Wood-
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In it you will find the treatment
booklet; a trial cake of Wood-
bury's Facial Soap ; samples of
the new Woodbury Facial
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Write today for this special
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A booklet of the most

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You will find complete
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foi^v.,

1AG£

CLAIRE WINDSOR

Claire and her fragile, flOwer-like beauty have been chosen to adorn the productions of
Lois Weber, first among them "to Please One Woman" .

Photograph © hy Arthur Shirley Studio, L. A

rtdton Picture ftdgditoe

JEANE PAIGE

Jeane Paige com-
pleted her stellar
role in "Black
Beauty" to adopt
a new and lasting
role . . . that of
Mrs. Albert E.
Smith. She mar-
ried the president
of the Vitagraph
Company

Photograph

by Alfred Cheney

Johnston

HAROLD
LLOYD

Harold Lloyd finds
it a serious busi-
ness supplying the
demands for his
comedies . . .
that's because he
has made his char-
acter of the be-
spectacled youth so
popular

Photograph

by Alfred Cheney

Johnston

Photograph by Evans, L, A.

ANNA Q. NILSSON

Anna Q. would rather have a fine characterization than stardom any day . . . that's why she free-lances about
from one company to another . . . whither a characterization goes, there Anna will follow

Photograph by Evaus, L. A.

JAMES KIRKWOOD

It would be altogether fitting and proper to call James Kirkwood "The Man Who Came Back," for he has done
so in the recent Allan Dwan production, "The Scoffer" . . . Jimmie returns even more able than he was in

the old days

MARGARET LOOMIS

Margaret's star is steadily rising in the film firmament, thanks to her consistently colorful portrayals in the

Famous Players productions

Photograph by Alfred Cheney Johnston

CORINNE GRIFFITH

If it hadn't been for that beauty contest in the New Orleans Mardi Gras, Corinne Griffith would never have
been discovered by the Vitagraph Company . . . she would never have adorned the shadowscreen . . . and

that would have been our loss indeed

Photograph by Evans, L. A.

CLYDE FILLMORE

Clyde Fillmore belongs to the Capitol
City, and undoubtedly he was to have
moved in diplomatic circles. How-
ever, Clyde took things into his own
hands and chose a career on the
stage ... He is now playing lead-
ing roles before the cameras of the
various Western companies •

MHMMHI

Photograph by Ira L. Hill Studio*

INA CLAIRE

Ina Claire will make her
screen debut in Metroes "Polly
With a Past," in which she
brings the Polly she has long
created behind the footlights
to the silversheet

Nature's Temple

Posed fcr? Monte Blue
in "The Kentuckians"

V2Q

Afi£

The Hum~_ Picture

i fjOUVU^dL \0\JJWjlaAA

""Ik ^"Y faith in the moving picture industry
£\r J has been strengthened by two pictures,
to such an extent that I am a greater be-
liever now than I ever was, that we are a part of
a lasting field of human endeavor.

"The two pictures that have convinced me of
this are Over the Hill and Humoresque. The
success of such productions without sensational-
ism, without mechanical thrills, and the hitherto
conventional box-office angles, has convinced me
that the picture-going public wants pictures that
are simple, human and direct. The call for lavish
expenditure on trivial stories, machine-made plots
and card indexed features will become lessened
as the public emphatically shows its desire to see
life as it is lived in the every-day situations that
each one of us is called upon to face. The industry
owes a debt of thanks to the producers who have
dared to get out of the beaten path."

......

Floating Island
on Olympus

blue-and-white
checked apron
— I mean I'm
not unhappy be-
cause I haven't
time to reign
supreme in a
tiny kitchen in
a tiny flat.
Whenever I
read about
someone with
stacks of money
for an
and a
stove I
wonder
they dont
one Rolls

wishing

' OW long "does it take to make stew ?" Norma
Talmadge wanted to know.
I hazarded "About an hour," and wished I had
studied the White House Cook Book or some
other equally reliable authority, I had prepared intelligent
questions and answers on the latest plays, the extreme
gowns the importers were showing, exotic perfumes and
sachets and touched upon philosophy — and she talked of
stew —

The occasion was at the Talmadge studios, tucked in be-
tween tenement houses over by the river. Norma and her
company were working that evening and dinner was to be
prepared in the kitchen adjoining her dressing-room.

Norma Talmadge had come home. When I arrived at
the studios I saw her great car b e f° re the door, with a
baker's dozen of boys and girls crowded about the chauf-
feur, plying him with questions about the girl who rode
behind him in all that scented upholstery. "Dinkie," her
adored Pomeranian, was being taken for his walk up and
down the street. Inside could be seen the sickly green
glare of the studio lights.

The tone of the doorman's "Miss Norma's working on
the set" had led me to believe that the studios had been
dismal without their mistress — that they had missed her
greeting as she arrived and left — the sound of her laugh
floating from within as it did then — while she toured
Europe and then sailed for Jamaica for the exteriors of
her new picture.

I found her working in a scene which resembled the in-
terior of a shack on one of the colorful isles of the southern
seas — immediately she had greeted me with the preceding
culinary question.

"You mention stew as tho it were the talk of the hour —
I didn't know you'd be domestic — do you always cook?"
I interrogated.

"I'm hungry," with a wave of her hand,
(j\ "therefore domestic. I dont always crave a STn y y

LAfiC

apron

kitchen

always

why

sell

Royce or one

gown and buy

the coveted

stove and a per-

fectly good

"I'm not exactly unhappy because I haven't time to reign supreme
in a tiny kitchen in a tiny flat," said Norma. "Whenever I read about
someone with stacks of money wishing for an apron and a kitchen
stove, I wonder why they dont sell one Rolls Royce or one gown and
get them." Above, a new portrait, and below, in her new picture

By
ADELE WHITELY FLETCHER

bungalow apron of pink gingham with a sash and
everything all at the same time."

"But tonight you are actually getting the din-
ner, aren't you ?" I asked.

"Yes, and there'll be floating island for dessert,"
she added. "Our fare is a little limited. I cant
find the cook-book and I'm only competent in mak-
ing stews, lemon meringue pies, chocolate corn-
starch, fudge and floating islands."

She sat beside me on the arm of another chair,
her dark brown hair bobbed and wearing a many
colored waist and short skirt, wearing a necklace
made from alligators' teeth, not elephant's tusks, as
she later informed me with a good-humored dis-
dain. And had it not been for her vivid image I
should have felt sure that I was in the wrong stu-
dio. The theatrical papers ever describe her as
radiant in bespangled creations at this affair de
luxe — be jeweled, luxuriously clad — the star at
whose shrine thousands worship — it is easier to
think of her as the little high-school girl who rooted
for Erasmus at the football games and wore the
chrysanthemum offered by the favored boy.

The director needed her in the scene and she
walked over to the set and listened with an under-
standing smile while he explained to her that she
was the girl pleading with her drunken lover —

The director stepped back — the camera started
to grind and into the face that a minute ago I had
thought a school-girl's there came a touch of pain,
pleading, then despair — her eyes lost their sparkle
and were beseeching —

"Cut," called the director and Norma came back
to where I sat.

She brushed back her hair with her fingers —
"I've been meaning to have it bobbed ever since
Constance had hers done," she said. "Then finally
I sat down, gazed spellbound into the mirror and
said, 'Go on — do it.' They did."

Photograph by Royal Atelier, N. Y.

"We love our careers, our successes, and sometimes what

others call our failures," smiled Norma, "but, more than these,

we love our Loves — our families and our romance." Above,

another portrait, and below, at her dressing-table

Interviewing Norma Talmadge has
never been a simple task, for she takes
herself seriously only when she is work-
ing. At other times she is all girl, eager
for the latest bit of news and happy in
the talk of inconsequential things ; now
and then, in quick flashes, sentimental.
Almost, she seems unaware of the fact
that the bustling studios are because of
her, that the new contract which .she and
Constance have just signed with First
National is the talk of the hour because
of the enormous figures it contains. If
you broach the subject she is enthusiastic,
cognizant of all things, but still uncon-
scious of their personal relation.

"I've had such frightful stories," she
said, taking up Dinkie, who had re-
turned from his constitutional. "We've
done all we could with them,
but a story must be interest-
Puffer B N Ph Y by (Continued on pane 109)

PAG

Tke Importance of
Being In Earnest

smiles, gives the same impression. Even their
house has a wholesome expression, as one would
say, "Here is no pretense ; in order to be com-
fortable here you must have done something,
or be doing something, of interest to the world."
(I had seen it soon after they made the pur-
chase. It is an eleven-room house, with a
broad lawn, a broad veranda, a small, square
entrance hall and a long living-room. The
ceilings are high and this adds to the sugges-
tion of breadth and comfort. On the table
were some New York newspapers and a copy
of a well-known work on the bible opened to
the chapter on "Marriage.")

No, you would scarcely suspect the Nagels
of any inclination towards the high life of the
profession, as it is supposed to be. But you
would guess that they like to have a good time
and enjoy having their friends around them,
and so they do.

"Really, our maid
suits us in every way,"
said Nagel. "We en-
joy those weekly din-
ners as much as she
does, and we wouldn't
give her up for any-

Ccnrad Nagel is taking a
renewed interest in the
study of how people
think . . . and why. He
has always believed in the
power of mind over mat-
ter, and as a child he was
impressed with the im-
portance of right think-
ing. Top, a new portrait,
and below, in his charac-
ter in Barrie's "What
Every Woman Knows"

thing.

"And when the din-
ner is over, we usually
have music as well as
conversation. Mrs.
Nagel sings, yoii know

Photograph (above) by Witzel, L. A.

THE Conrad Nagels
are entertaining fre-
quently of late.
You see, they have
a maid who left her last place
because the people didn't en-
tertain often enough. Fact !
This maid likes to have people
around her all the time. More-
over, she is a good maid.
"And so," said Conrad
' Nagel, "we make it a rule to
give a dinner at least once a
week. We must — we simply
must — keep her content."

Conrad Nagel is a rather
quiet young man ; the last per-
son on earth you would suspect
of any inclination towards ex-
tensive "stepping out." And
Mrs. Nagel, an attractive bru-
nette, with a firm handshake
and a comradely way of look-
(T\ ing straight at you when she

lAfi£

B$ BETH TREPEL

. . . ' ( Later, he said emphatically that she had
no idea of entering pictures, "because she has enough
to occupy her with her music")

Many of their friends are musical and having been
reared in a musical family, (his father is a composer
of note and also dean of Highland Park College of
Des Moines) Nagel considers music an integral part
of his life.

"Of course, most of our friends are professional
people, because it is with professionals that we have
most in common. And then, too, I think profes-
sionals are more broad minded. Most men are in-
terested in practically nothing but their own work
and that is liable to be all they can talk
about. But an actor of experience has a
smattering of about everything. If, for
instance, he plays a doctor, he must have
some knowledge of how a doctor would
act so, of necessity, he learns something of
the traditions of the medical profession.
And, for exactly this same reason, no actor
should confine his acquaintance entirely to
people of his own
profession. For one
thing, there is always
the possibility of his
not knowing how to
act, when he gets in
with a crowd . . . ,"
he said this last smil-
ingly.

Conrad Nagel is to be
with William de Mille
permanently, and it is
an association which
he declares to be of
no small value. Top,
another camera study ;
center and below, two
informal poses

:--.. . .;._>,■ .

Photograph (above) by
Melbourne Spurr, L. A.

To those who have
seen Conrad Xagel on
the stage, either in "Ex-
perience" or with Alice
Brady in "Forever
After," I need hardly
say that he has a culti-
vated voice and that his
diction is free from af-
fectations. Having had
a college education, (he
graduated from High-
land Park at the age of
seventeen, thus reflect-
ing much credit on his
father) he naturally
doesn't go in for the
made-in-Hollywood
brand of English ac-
cent, so much the vogue.
He has blue eyes, the
pronounced shade of
blue, which tell of intel-
lectuality and enthusi-
asm, but of too light a
shade to be the eyes of
an emotionalist. He
uses very few gestures.
He is very generally
voted a "splendid chap"
by members of every
department in the stu-
dio. As for pictures, he
is just beginning to take
a thoro-going interest
in them.

"Before . . . well
. . . they always seemed to me just . . . pictures. That is.
until I started working with Mr. William de Mille. With
him it is more like working in the theater. For one thing, he
shoots in continuity ; something that no other director even
thinks of doing. In this way we are enabled to work up
to our climax moments in a natural manner. One doesn't
have to propose to a girl in the morning and be introduced
(Continued on page 100)

PA<Sli

Three Corners and all the sleepy little hamlets thrUout the
country will glimpse sunny Spain, with its quaint arches,
colorful senoritas and old romance in the new Pathe
serial, "Rogues and Romance." George B. Seitz took his
entire company, including June Caprice and Marguerite
Courtot, abroad that they might have the arches of the
Alhambra and the gardens of the palaces for their
backgrounds

Spain Comes To
Three Corners

Erich von Stroheim may
spend many fortunes in
bringing his productions
to the screen, but his re-
sults are sure. Always in
his work there is that
continental flavor, so diffi-
cult to portray, so delight-
ful to witness. "Foolish
Wives," his next en-
deavor, which is also from
his own pen, is said to be
all that you would expect
. . . with von Stroheim
himself playing the hero
suave

ni\e Lady of the Big Wkite House

ATHERINE MacDONALD
She lives with her mother and
sister, (Mary MacLaren) in
a two-story white house of
colonial architecture, not at all Cal-
if ornian in appearance.

There is about "the American beau-
ty," much of the conservatism of her
Scottish forbears. Having become ac-
customed

to two-story maam^mtmea^^m^

houses, she
cannot feel
really com-
fortable, or at
home, in any-
thing that
looks less
permanent.

"I like to go
upstairs when
I go to bed,"
she said.
"The very act
seems to rest
me. And then
1 feel that I
h a v e in ore
privacy ; that
my room is
more particu-
larly my own.
Bungalows
are my pet
abomination."
We vv e re
sitting on the
edge of a
TS "set" at the

Afi£

Katherine MacDonald has studied her-
self, as all women should study them-
selves . . . until she knows exactly what
she can wear, and she designs all of her
own clothes. Below, with her mother
and sister, Mary MacLaren, in the liv-
ing-room of the Big White House

dislikes bungalows. Katherine MacDonald studio on Pico and Georgia Streets,

Los Angeles. The scene showed a
dining-room ; large, well furnished,
magnificent with ornate electric fit-
tings, draperies and glassware.

"The American beauty," wore a
wrap-cloak of silver cloth that caught
and held the light in its folds; shim-
mering and lovely. You would have

guessed that
it must photo-
graph exqui-
sitely and,

"It does."
she told me
later, "there
are times
when it looks
p o s i t i v e 1 y
alive."

She was on
the set when
I arrived,
moving thru
the action
with a pic-
tnresque,
stately grace.
She is even
more beauti-
ful than she ,
appears to be
on the screen.
Tall . . . (five-
eight) . . .
she is yet so
perfectly
proportioned
and so grace-

ELIZABETH PELTRET

ful that she gives the impression of me
dium height. Her eyes are a decided,
tho not a dark, blue ; the same color,
I noticed, as those of her sisters'.

Miriam MacDonald (Bosley)
sat with me on the sidelines and
we chatted until the scene was
over. She is the eldest of the
three sisters and the last to go
on the screen. She said that
up to a year ago she was the
housekeeper of the family.
Then she married Clyde Bos-
ley, prominent aviator and
former member of the Lafay-
ette Escadrille.

"And now," she added, "I
dont know what to do with my
time. There isn't enough
household managing to keep me
busy. So, I am beginning in the
usual way, by playing a maid.

"I never thought that I would
like it. When Katherine went on
location with the Douglas Fairbanks
Company for some scenes in 'Headin'
South,' I went along and rode in old

"I have worn the same make
of sailor hat for the last six
years," said Katherine Mac-
Donald, "the only difference
being that where it used to
cost five dollars, it now costs
twenty." Above, a camera
study, and left, an informal
picture

bumpy
wagons as a
'pioneer' until I
made up my mind that
I would never again have
anything to do with mov-
ing pictures."

The conversation, as
well as the open-air stage
and the high board fence
around the lot, was re-
miniscent of earlier days
when D. W. Griffith stood
on that same stage and
directed the activities of the American Biograph.
(There, Mary Pickford made her first "big" pic-
tures. So, too, did Lillian and Dorothy Gish, Henry
B. Walthall, Owen Moore, Bobby Harron, Mae
Marsh and Lionel Barrymore . . . the list might go
on indefinitely.)

Even the gorgeous set reminded one of stories told
by moving picture people whose memories stretch way
back to 1909 when actors sometimes built the sets they
acted in and, for good measure, painted them too.
(The stars we used to know best of all, who worked
with the Biograph Company on that same stage fre-
quently made their own gowns.) But now the "heavy"
was helping Katherine MacDonald to remove her wrap
and underneath it was an evening gown of royal pur-
ple made by a famous modiste to enhance her blonde
loveliness. So, the scene ended and she joined us.
"No," she said, in answer to a question, "I've only
been in moving pictures a little over a year and a half.
All I know about the history of this studio is what
people have told me. But they do say the old place is
haunted. I'm always expecting to see Aunt Mary
Bender jump out from behind a piece of scenery or a
prop piano."

It seems that "Aunt Mary Bender" was a rabid

(Continued on page 96)

PAGli

A4£

azimova

CERLINE BOLL

B$ ELTON KELLET

I'm the Villain debonair,
I smear pomade upon my hair,
Nothing I do is on the square, but,
/ make the picture.

I'm the Property Man, and it's no fun,
I create the walls of Babylon,
I erect the setting sun,
/ make the picture.

The charming movie Child am I,
I make the audience sniff and cry
In the scene where I almost die,
/ make the picture.

I am the little Ingenue,

With curly hair and eyes of blue,

I get a nice fat salary too,

/ make the picture.

I'm the guy who turns the crank,
Develops the fil-um in the tank,
So you have all got me to thank,
/ make the picture.

Just,

Folks

Mary Carr is beautiful, too,
with a beauty that age can-
not wither nor time destroy
. . . and she has the charity
and understanding of all the
mothers of all the world.
Above, as the mother in
"Over the Hill"

HE subject of mother
love has been the in-
spiration of poets of
all generations. Nor
has any poet ever revealed a
keener, deeper knowledge of
this miracle of nature that
makes the whole world kin
than has Will Carleton, the
farm poet, who wrote especially of the inner workings of
the minds and hearts of just plain folks, of the homely
things of life with which you and I at some time in our
lives have been intimately familiar.

In my early youth I had learnt by heart "Over the Hill
to the Poor House" and its companion piece. Quite re-
cently I went, with some misgivings, to see it depicted on
the screen. "Over the Hill" was making a big hit — that
I knew. Probably, I surmised, skeptically, because it
had been changed to cheap melodrama, to something un-
recognizable but, in my mind during the entire evening
was a familiar, constantly recurring phrase: "and those
who went to scoff, remained to pray." The old ballad
with all its homely pathos and humor was pictured exactly
as it was written. The settings were appropriate to the
(A smallest detail. And Mary Carr in her characterization of

A5£

the mother was un-
forgetable.

Next day I was ad-
mitted to an apart-
ment on Riverside
Drive by Mary Cafrr
herself. I found her
as poignantly sweet
as the young wife and
mother I had seen on
the screen, as lovable
as the tender, tragic
figure who went
bravely trudging
"over the hill." She
is beautiful too, with
a beauty that age can-
not wither nor tirrje
destroy — and she has
the charity and under-
standing of all the
mothers 'of all the
world.

The apartment was
a homey place with
every evidence of be-
ing intimately and
joyously lived in. It
spoke of childish frol-
ics, of dancing feet'.
A piano stood in an
alcove. A gilded cage
with open door from
which a canary ven-
tured forth at will
hung in a sunny win-
dow. There were
shelves of books, a
desk and reading
lamp in a quiet corner. There were school books, a base-
ball bat, a pair of boxing gloves, an overflowing sewing
basket.

And there was the family. Johnny, a tall youth with
a shock of red, curling hair. Little May Beth and sister
Rosemary, a year or so older, both of whom were dressed
and undressed, fed, petted and put to bed by their mother
in "Over the Hill." The maid had not "come" that day,
and Rosemary, who had been keeping house was hos-
pitably anxious. Could she not, please, she whispered
mother, serve chocolate? She would run out for some
milk — and there was cream to whip. To which sugges-
tion, Thomas, hot and dusty from a football game
and with the appetite that goes with twelve years, gave
hearty approval. And there was Father Carr, intermit-
tently pacing the floor as a man caged in an apartment
with nothing to do, invariably does — visibly and paternally
proud of his children and his lovely talented wife.

"Am so sorry the other children are not here," said
Mrs. Carr. "But Stephen, the impish schoolboy, and
Louella, the grown-up Susan of 'Over the Hill' are both
away working in pictures. It was unusual, was it not,
that I should have had four of my children with me? I
was a bit fearful before we started — was afraid I would
be so anxious about their work I could not concen-

S-*

By
LILLIAN MONTANTE

trate on my own — but it worked out splendidly."
"It is all unusual," I said. "Your children all
work in pictures and you approve. And they are
just normal, happy-go-lucky youngsters — and you
are all — just folks."

"Exactly!" she laughed. "Why
shouldn't we approve of our children
adopting a profession that their father
and I adopted years before they were
born. We couldn't reasonably expect
them to be born with a yearning am-
bition to become lawyers, doctors,
plumbers, could we ?

"To my mind," she continued seriously,
"it isn't so much what my children take
up as their life work — it's how they do
it — and the kind of men and women they
become while doing it. You know 'Who
sweeps a room as by His law, makes that
and the action fine.' A butcher, a baker,
a candlestickmaker — what does it mat-
ter? But it does matter how they do
these things. And, being responsible for
the children, we want, more than any-
thing else to give them a foundation to
build on. A home environment that's
conducive to a normal life. To show the

"If the picture rings true, as the critics say it does —
if it teaches the lesson it was intended to teach — it is
worth while, and I am most happy that it was my privi-
lege to create Ma Benton in 'Over the Hill,' " said
Mary Carr. Above, a portrait study; center and below,
as Ma Benton

doubting world
that a supposed-
ly nomadic tribe
can keep togeth-
er, have a happy
family life and
be as you say —
just folks.

"Yes, I was
on the stage a
cons i de rable
time. When I
was a very
young girl, I did
a lot of amateur
theatrical work
down home near
Philadelphia. It
led to an engage-
ment in stock
and I continued
there at the old
Chestnut Thea-
ter until I mar-
ried Mr. Carr.
who was also of
the theater. I
loved my work
and expected to
continue in it, but
the babies came,
seven in twelve
years. Six are
living. So I had
(Continued on

page 103)

PA6

M. \ W;

Contest Brings Deluge
of Beauty

SINCE our magazines are a connecting
link between the screen and the specta-
tor, the Fame and Fortune Contest is
for the purpose of strengthening this
link, by helping the spectators to realize that
the field of motion pictures is open to all. Only
the surface of this great industry has been
scraped ; the demand for pictures increases
more rapidly than the output, and consequent-
ly there is a never diminishing demand for new
stars to illuminate the screen.

So thru the door of our contests those with
screen ambitions have the opportunity of enter-
ing. In each of
the past contests
the promising
contestants were
declared winners
and placed high
up on the ladder
to fame, and were
given publicity
and contracts
with prominent
film companies.
The results of the
contests have
been far beyond
our expectations,
and have given an
increased incen-
tive for a repeti-
tion of the two
previous contests.
The contest is
open to everyone,
child and adult,
male and female.
We are gratified
at receiving a
large number of
photographs from
men and are hop-
ing for many more.
A five-reel pic-
ture is one of the
features. In it all
the members of
the Final Honor
Roll and, of
course, the win-
ners take part.
Contracts will be procured with leading motion picture
producing companies for the winners and each winner
will be given two years of publicity thru the three
Brewster publications, Motion Picture Magazine,
Motion Picture Classic and Shadowland. This will
include personality stories of each winner, picture
pages, cover portraits and photographs in the gallery.
In this contest we feel that we are serving both the
screen and our readers. " And we shall enthusiastically
conduct the Fame and Fortune Contest thru the new-
year, confident of a greater success than ever before.

The fact that the photographs received daily are
from all points of the compass, from the North, the

1A££

Proves Mecca to Film Aspirants

Northwest, and the Pacific Coast, from the South and
frOm other countries, proves' the fact that tens of
thousands of people in this world think they were
born to" illumine the screen and are determined not
to blush unseen. And we feel that this belief has been
justified in so many cases that we encourage the am-
bitious and give our help wherever we can.

Apparently the contest is more popular than ever
this year and the final honor roll will contain the
names of some of the world's finest men and most
beautiful women.

Many of these exponents of beauty are now ap-
pearing at the Brewster Publications for cinema tests
and in a number of cases the results have been very
gratifying.

"From Farm to Fame" is the title of the new pic-
ture which is being prepared for the contestants
and which will be ready for release at
about the close of the contest. If the
contestants prove as attractive
their camera tests as they do ir
their photographs, a large
number of the early contest-
ants will appear in the pic-
ture. A great variety of
types will be required,
and undoubtedly some
of the bright blondes
and vivid brunettes that
have already sent in
their photographs will
constitute part of the
attraction of the con-
test motion picture.

In choosing win-
ners, as we have said
before, one of the
main deciding fac-
tors is screen per-
sonality. A person
may have perfect fea-
tures and yet entirely
lack that illusive thing
called personality when
reflected on the shadow
stage, without which
they can never become
stars. The only way to
discover whether you are
potential Ethel Clayton, Elsie
Ferguson, Dorothy Gish, Wal-
lace Reid or William S. Hart is
to enter the contest and be given
trial.

In order to forestall mistakes,
we again furnish the information
concerning how to enter contest.

Fill out the coupon or a similar one of your own making and
paste it on the back of the photograph.

Send your letter with your photograph.

Letters asking for replies are not desired, but if thought neces-
sary, should be accompanied with self-addressed, stamped
envelopes.

All communications should be addressed to Contest Manager.
(Continued on page 113)

Photograph (above) by Apeda, N. Y.

Above, Loretta Pettigrew, of Brooklyn,
N. Y.; left,.Beulah Burnett, of Hamil-
ton, Ohio, and below, Florence Clinton
Hulse, of Washington, D. C.

Photograph (belowl by Rice
,, i ,«, j r -. . .-.. . i.. l M « J

Photograph (above) by
Leegmueller & Murray, Ohio

PA6

A LABOR leader in
the West has accu-
mulated in his own
name the tidy sum of
$450,000. Yet there are
still some • persons who
want to go into the movie
business.

Recipe for a Slapstick
Comedy

One bedroom.

One bathtub filled with
water.

One pretty baby.

Two absurd mustaches
with men behind them.

A cat or a dog.

A flivver.

Shake well and flavor
with a few bathing girls.

Some day just to get
myself some publicity and
start everybody
talking, I am go-
ing to write an
attack on the
movies. Here I
have been going
calmly along de-
fending the
movies from
everybody and
everything, and
nobody pays any
attention to me.
But some day,
just wait. George
Jean Nathan and
Walter Prichard
Eaton have the right idea
than I do.

<«Rs

Imaginary Close-ups
No. 1.
Charlie Chaplin spend-
ing his money recklessly
as if he had a lot of it.

Some Stars That ■ Will
Shine
Mary MacAvoy.
Gladys Walton.
Johnny Hines.

One of the college wits
is responsible for this one :

"Saw another unhappy
ending in the movies last
night."

"Did the hero get kill-
ed?"

"No, he married the
heroine in the last reel."

Wanted — a movie act-
ress Who will admit that
she is not the best-dressed-
f\ woman-on-the-screen. -
J 42

We suggest to the edit-
ors of the various news
weeklies that they send
their cameramen out to
gather some scenes of
ship launchings. The
novelty of these scenes
alone would greatly in-
terest the public.

Five years ago Mary
Pickford was the Queen
of the movies. Today
she is the Empress. The
others are still Sir Bar-
tons.

A constant viewer of
the films cannot but won-
der whether it is possible
to make a five-reel pro-
duction without a ; ball-'
room scene.

Filmatically speaking,
a vampire is a creature
who can make a- villain
out of a hero. Or.. -any
other man who doesn't'
wear a mustache. . •"

No wonder they make more

y It is said that Henry

3Ll" Ford is going. to use

his millions to get

control of the motion picture

industry. We suggest -that "the

W®«r easiest thing to do is to buy up the'four

different plots they are using this season and

refuse to allow anyone else to have them. \ His

monopoly will then be complete.

Ten Commandments of Movie Etiquette

1. Always present a $20 bill at the Box Office — if
you haven't a twenty, a ten will do. This holds
up the line, and shows your influence over other
people.

2. Never go down the aisle indicated by the ticket-
taker, as it shows subserviency.

3. Always sit four rows behind the one where the
usherette wishes to seat you — because she un-
doubtedly has a sinister reason in trying to put
you there.

4. Do not remove your hat until you have seen at
least half a reel. This impresses other movie-
goers, with your independence.

5. Always talk to your right-hand neighbor 'in a
loud voice because you know that it does not
annoy the actors, nor the people on the street.

6. Be sure to chew Spearmint gum, or eat apples
during the play. N. B— These are times when
we must be consistently industrious.

7. Always take in a movie when you have a cold,
as you are sure to get the sympathy of the other
thousand fans.

8. Read the titles, and conversation aloud, thus
showing your education. . ...
To show that you 'have character, applaud when
the villain succeeds. '

On leaving the theater, go to the manager, and
criticize the picture— this marks you as a critic.

9.
10.

Neal O'Hara wants to
know why Doug ^Fair-
banks should get a;mil-
lion-a-year for .bouncing
around, when Ford pa-
trons do it so much more
easily and are glad to pay
for the privilege.

They Always Come
Back for More

We take great pleasure
in announcing that Irene
Castle will return to act.
on the screen.

About the only thing in
the movies that cant be im-
proved upon is the Mack
Sennett bathing girl.

About the only differ-
ence in the movie plots
this year is the price the
producers are paying for
them.

Every new Harold Lloyd comedy causes the fans of
Mildred Davis to rejoice that she is not planning to
desert the farce for the drama. Herewith are some new
informal pictures of her about her home and with her
mother

:.-" •■-,-■■

Otie

Miracle
Girl

Photograph by AbM

The lucrative films appealed
to Betty, and she entered
them by way of the Christie
Comedies. Then she was
starred in Pathe serials. Her
best picture is "The Miracle
Man." Above, a character
study of Betty Compson

' Y meeting with
Betty Compson,
chiefly celebrated '
as the girl in "The
Miracle Man," happened in the
usual way. Outside her dress-
ing-room door lolled a luxuri-
ous velvet lined limousine. A
liveried chauffeur stood, immo-
bile, at attention. A tiny snub-nosed Pekingese spaniel
paced impatiently across the blue velvet cushions of her
car. I tapped upon her door and entering the shadows
of her dimly lighted room was transplanted into an atmos-
phere intriguing with perfumes, an odor so finely blended
that instinctively one knew it was as priceless as the
frankincense and myrrh of olden times. A slightly scented
blue haze of cigaret smoke lingered in the dim corners.

So when a slight figure, exquisitely garbed in golden

brown duvetyn with a hat forming a halo of dull blue

feathers about her ruddy, aureole-like hair, advanced to

greet me, I said to myself :

/T\ "I shall have to chatter blandly about her art and then

f>44

go home, a little envi-
ous of her extrava-
gance, a little dissatis-
fied that I haven't the
courage to buy rare
perfumes."

This only shows
how mistaken one can
be when judging by
appearances.

For, regardless of
her five-hundred dol-
lar frock, Miss Comp-
son perched uneasily
on her chaise longue,
where I somehow
know she never re-
clines, — and curling
first one f opt and then
the other under her,
looked timidly at me
from her great grey
eyes, while her atti-
tude was one of
quaintly quiet, courte-
ous dignity.

And then all of a
sudden I realized that
there was a really lov-
able girl-soul hidden
under all this obvious-
thing-to-do expendi-
ture of money. Had
I not realized this, I
am very sure, I should
have learned nothing
more from Miss
Compson than that she
was a beauty who liked
having her own com-
pany, for which she signs all the checks and that she
picks out all her own stories and casts them according to
her own judgment.

But, suddenly — as . I said before — something told me
that the girl herself was sweeter than her perfumes.

And Betty Compson immediately sensed this change o"f
attitude in me and haltingly, with now and then a hungry
glance for approval, told me of her long working years
which preceded the part of the girl in "The Miracle Man"
which finally brought her fame and fortune.

Betty Compson was a Salt Lake girl, the daughter of
well-to-do parents — not Mormons, however. When she
was a high school student, her father was suddenly stricken
with tuberculosis. This meant that he had to be taken to
a sanatorium. It also meant the cessation of any funds
coming into the Compson household. Bit by bit their
savings dwindled until Betty realized that she must go
to work. She has always taken violin lessons, and so one
day she answered an advertisement for a violinist in a
vaudeville orchestra, with the result that she was given
the place.

Even in her adolescence, wise above the average, Betty

■»

HAZEL SIMPSON
NAYLOR

determined that she would not
give up her school. Her pride
was so intense, however, that she
couldn't bear to let the other boys
and girls know that she had to
go to work. She used to try to
conceal from them her violin
which she had to lug to school
each day, but when found out and
questioned by her friends, she told
them that she was again . taking
daily violin lessons.

When Betty was fifteen years
old her father died. This neces-
sitated her mother and her mov-
ing to a smaller place, and the
burden of support fell entirely
upon the young girl. Miss Comp-
son is a firm believer in education.
"No one can succeed without a
background, and good schooling
is the best," is one of her axioms.

So she continued her studies.

Then one Sunday, when the or-
chestra was rehearsing the new
acts for the next week's show, the

manager discovered he was short one

act. Believing in Betty's ability, he

asked her if she would fill in with a

violin solo act. She .said she would.

Then came the question of what she

should wear. She had no suitable dress,

and rather than go in something tacky,

conjured up for the occasion, she slit a skirt and waist into rags,

tied them together with an old sash over her hips, let her hair

fly unbound and went barefoot.

Then she stepped out upon the stage, and flinging back her re-
bellious young locks, played her repertoire to the best of her ability.
She received a tremendous ovation.
In telling about it"} Miss Compson said :

"I knew all of two pieces, but it was my untrammeled youth
that made it get over. Youth can do anything."

Her act went so well that she was booked thru the whole Western
Orpheum circuit and eventually came to Los< Angeles.

Of course, the lucrative films appealed to her and she entered
them via the Christie Comedy route.

That was five years ago — five years which were filled with dis-
illusionments and disappointments.. For her booking managers,
in whose hands she had placed her fortunes, never boosted her
particularly and altho she became renowned for her beauty, her
fifth year in the silent drama found Betty Compson starring in a
Pathe serial. Betty says there is no more soul-searing experience
(Continued on page 108)

±jLA

THERE are so many native California daugh-
ters who have distinguished themselves be-
fore the camera that it is no surprise to
discover that Carmel Myers was born in
San Francisco just nineteen years ago.

Most of her life, however, has been spent in Los
Angeles where her father, Isidore. Myers, is a bril-
liant and beloved rabbi. From him the girl un-
doubtedly derives, much of her splendid intelligence,
original mode of thinking, her sane balance. From
her mother she inherits the emotional depths and
temperamental equipment which is carrying her to
an enviable position among the cinema stars and
even to the glories of a Broadway stage success.

It seemed inevitable that one so richly endowed, —
plus a warm, sparkling beauty, a bubbling vitality
and ambition, should select a dramatic career. Carmel
will tell you quite seriously that she agrees with
Shakespeare that a divinity shapes our end, for every-
thing — with impetuous emphasis — has come to her
so wonderfully.

"I revel in every experience and have evolved a
pet philosophy of my own," she confessed. "I be-
lieve that our lives are largely mapped out for us,
and if we try and try and dont succeed, it must be
for a very good reason. Everything is for the best,
whether we see it or not at the time. This has
proved true so often with me. Sometimes when I
have been disappointed, I have later found that it
("\was best as it was, so now when I am tempted with

Afi£

niie Sunlit Mount

the blues — I banish them. Much de-
pends on how we greet the new day,
— so it's smiles at breakfast for me."

All of which reflects her wholesome
attitude toward life, and she carries a
gay little message for the world shed-
ding it abou,t her thru a sunniness that
is captivating.

Carmel is in the midst of her fourth
motion picture since her return to Uni-
versal City after a successful season in
"The Magic Melody," on the New York
stage last year.

"It is heavenly to be back in Cali-
fornia," sighed the girl, happily, "yet I
had such a wonderful year. Ever since
I can remember I have dreamed of the
stage. It has always been the big in-
fluence, in my
life. Tho it still
constitutes my
ultimate ambi-
tion, I refused
a beauti f ul
chance to go to
England to play

Carmel Myers has re-
turned to the screen, and
Universal pictures, in par-
ticular, after a time on the
musical comedy stage,
where she appeared in
"The Magic Melody"

All Photographs
by Freulich

MAUDE CHEATHAM

the leading role in a clever comedy-drama,
and several tempting offers in New York
because I wanted to hurry back and put
into practise what I had learned. I was
afraid if I remained in that fascinating
theatrical atmosphere a few years I
wouldn't be able to tear myself away, and
I want to reach the top in pictures — first.
Youth is the vital point with them and
every year counts, — the stage holds even
greater opportunities later, when one's
nature has been deepened by living."

Carmel cheerfully acknowledges that
she has encountered few of the crushing
experiences that so frequently mark the
path of aspirants to dramatic honors.
"Perhaps," she remarked, with her shin-
ing eyes lovingly caressing her mother,
"this is because I have had such a marvel-
ous father and mother back of me at every
turn, guiding and protecting me.

"I guess I set a new record on Broad-
way," she continued, "for mother was
with me every minute — why, she didn't
miss a .single performance of my play.
I used to look at the other girls who had

Photograph (right) by Freulich

Photograph (abpvej by Freulich

Carmel laughingly refuses to
confirm ' or deny the reports
that Romance has come to
her, and that wedding bells
belong to her history

no mothers with them and mar-
veled at their courage and
strength : they deserve much
credit, for it is an uphill strug-
gle — alone."

It was during the filming of
his mammoth production, "Intolerance," that D. W. Grif-
fith sought the advice of Rabbi Myers regarding several
theological points, and discovered a screen possibility in
the Rabbi's pretty daughter. Shortly after this the little
girl's name was enrolled in the Fine Arts Stock Company,
and she played bits and attended the studio school with
Dorothy Gish, Pauline Starke, Mildred Harris, Marjorie
Daw and other budding stars. She played with Dorothy
in "Stage- Struck," and with Bessie Love in "The Heiress
of Coffee Dan's," where she. made a hit as the gum-chewing
waitress. She appeared with the clever comedian, Harold
Lloyd, and was engaged to play with the late Harold Lock-
wood in "The Haunted Pajamas."

(Continued on page 113)

PAfi U

OTKe Spirit
of Harmon})

By
BETSY BRUCE

the ordering in a manner remarkably
efficient. I realized that this lunch-
eon would not be the lingering va-
riety. James Rennie has in his make-
up something of the business man
who takes keen enjoyment in erasing,
by having done them, the things he
has to do.

First nights, dress rehearsals and
curtain calls had been part of his
life before he knew the sputtering
lights and the directorial call of
"C-a-m-e-r-a !" 'And at present he
is giving his evenings and matinee
afternoons to the theater, while the
remainder of his waking hours are
spent at the studio, where he is play-
ing the leading
masculine roie
in Lillian Gish's
first starring
venture.

"Stage and
screen com-
b i n e d are all
right," he told
(Continued on
page 110)

THE cloak-room girl nudged
her companion.
"Here comes James Ren-
nie," she murmured. "I
saw him in 'Spanish Love' the other
night. He's grand ! Now, he's playin'
in pictures, too."

I ceased optically tracing the rug de-
sign. The object of my quest had ar-
rived. He checked his soft hat and top
coat and looked furtively about as tho he
expected his interview-luncheon to resem-
ble nothing more than one of the horrors
left over from the Spanish Inquisition.

I introduced myself. The cloak-room girl
glared at me. I hadn't meant to hurry him away,
but it was Wednesday, and I knew that a matinee
performance awaited him. And time was fleeting.
(T\ He piloted me to one of the tables and dispensed with
f>48

Forbiddei tuit

■WHMnmwMHn

By GLADYS

MRS. James
Harring-
ton Mal-
lory was awful-
ly good at busi-
ness deals.
She knew
how to put
on the fem-
inine touch.
So when
her husband
announced
to her that
Nelson Rog-
ers was to be
their guest at
dinner and
that it was
most important,
most important,
for him to remain
on the ground until
the proposed merger
of the Mallory-Rogers
interests, was consum
mated, Mrs. James Harring-
ton cocked a knowing eyebrow,
and said, "I see!" — and invited the
Prettiest Girl in Town to dine with them,
and to go in as Nelson Rogers' dinner partner.

Fate took a hand as, in fiction if not in fact, Fate has
a way of doing, and the Prettiest Girl sent eleventh hour
regrets.

Mrs. James Harrington Mallory was desperate. She
bit her manicure and assembled her wits. What to do ?
There wasn't an available soul who could be entrusted
to ensnare into dalliance Nelson Rogers. He would be
bored with wining and dining; with gossip of the town;
he would make a brief getaway; the Rogers-Mallory
merger would fall thru! She had never failed her- James
Harrington Mallory yet — at that point in her meditations
or rather her mental maneuvers, her seamstress entered
the room with the gown she had just completed. She
found Mrs. James Harrington running a frantic pencil
thru a list. She waited. Mrs. James Harrington raised
her distracted eyes and caught a momentary glimpse of
a wistful, lovely face framed in the misty tulle of her
own gown. For an instant she was puzzled. She had
never noticed, really noticed, Mary Maddock, save to
note that her fingers were nimble and the results thereof
satisfactory. Now . . . Her eyes took on the gleam
they had when a scheme was taking shape. She said:

"My dear child, have you ever dined out — er — in our
way, I mean . . . Please dont think me too personal or
without sensibility, but the fact is, I'm in a serious quan-
dary and quite beside myself."

Mary Maddock smiled. "I've dined out quite fre-
quently, Mrs. Mallory," she said ; "in your way. My
family are of the South, and before I married — " she

HALL

made a little depre-
cating gesture,
but Mrs. Mal-
lory under-
stood. She
was taking in
details now,
and she
liked what
she saw —
slender
hand and
level brow ;
lovely lines
and a graci-
ous 'smile —
yes, with a
manicure ;
with a hair-
■ dresser; with a
modiste; per-
fumes ; an hour or
so of rest, this girl
might well appear to
the wealthy young oil
agnate as the Prettiest
Girl in Town. She could
surround her with a sort of
mystery, too . . . she would have
to, since, obviously, the girl wished to re-
main obscure.
She began to talk very rapidly. She was thoro, and
so she told her little seamstress all about the Mallory-
Rogers merger and the business necessity of keeping Rog-
ers in town and in touch as long as possible, and how she
had counted on a certain pretty girl who had failed her ;
and how she wanted Mary Maddock to fill the bill. "I
will have my maid make you into the spirit of new New
York, my dear," her employer said ; "you will be charm-
ing. All you will need to do is be nice, very nice indeed,
to Nelson Rogers, the rest will follow, I am sure. If you.
will do this for me you will have conferred a favor upon
me and I shall be glad to pay you well for your trouble."
Mary Maddock only hesitated for a fraction of a sec-
ond ; then she consented.

Mrs. James Mallory summoned two maids and put the
girl into their expert charge, telling them she was to be
all in white and that they were to use their every art.
She dismissed them and felt satisfied. There was some-
thing about that girl — fine as well as beautiful — spiritual
as well as fleshly — yes, Nelson Rogers would go to his
western home, she thought, with an image he would have
difficulty in effacing from his heart, be it ever so im-
pervious.

Mary Maddock felt as tho a dream had draped itself
like gossamer about her. Reality fell away ; reality that
had been harsh and hurtful since she had left her home
in the^outh to make a new home with Steve Maddock.
Aside from the money it would be nice, once again to feel
soft silks and move in tender perfumes ; to dine where

(pra^gS"*

There followed a crowded
hour of manicuring and hair-
dressing, and gowns hastily
commandeered from shops
nearby, and silken lingerie,
and perfumes and flowers

or an animal provender to be
got thru with; but where flow-
ers and the gleam of silver, the
pad-pad of service, the sheen
of linen all played their parts.
Ah, she had not known until
now how tired she had become ;
how disillusioned . . .

Steve Maddock had seemed
a sort of god. That was because she had known no other
gods, had no standards ; he fitted the best-sellers pretty well.
He had made love to her, just when to be made love to had
become a necessity with her, an urge. It had been summer
. . . at the end of the summer she had run away with him.
Life had seemed a glittering adventure, with, chiefly, the red
flowers of his kisses breaking the monotony. Very soon the
red flowers of his kisses were the monotony. She had never
known that love could turn so stale, kisses so rancid, the
whole glamourous business so stripped and unprofitable.

Things had gone rapidly from bad to Worse. Steve was
no good at pretense, once he had satisfied himself on any
particular score. It had been easy to dine with Mary at her
charming home, walk with
her thru the lovers' lanes
of the lazy southern vil-
lage, tell her what great
things he had planned and,
with her as inspiration,
would shortly execute. It
had been his way of spend-
ing that summer. At the
end of it, he felt the need
to go on. It was nice . . .
being thought a god by a
girl with silver skin and
crimson lips, and tender,
trustful eyes. He wanted
/T\her. He took her. After

Vso

Iagc

FORBIDDEN FRUIT

' Fictionized by permission from the Paramount pro-
duction of the story by Jeanie MacPherson, which was
directed by Cecil B. DeMille. The cast:

Mary Maddock Agnes Ayres

Steve Maddock Clarence Burton

James Harrington Mallory Theodore Roberts

Mrs. Mallory , Kathlyn Williams

Nelson Rogers Forrest Stanley

Pietro Giuseppe Theodore Kosloff

Nadia Craig Shannon Day

John Craig Bertram Jones

Maid Julia Faye

matter.

At first he got a job, but very
shortly it didn't suit him. Too hard. Not
enough scope for his abilities. "What did they think ht
was?"

Quite soon after that, he got another job. It lasted a
month. "One of those family-affairs," he told Mary.
"What do they think I am?"

Mary had a friend who got Steve his third job within
two months, and this time Steve said he was "prostituting
his abilities. That sort of thing was all right for some fel-
lows, but as for him. What did Mary think he was?" For
some weeks they had a pretty bad time of it. It was then
that Mary began to look for sewing, and shortly thereafter
that she obtained the work at Mrs. Mallory's home.

Steve took to gambling. It was easy money, or easy loss,
and required no sustained drag upon his abilities. Also,
he was appreciated, save when there was. a row, and then
the police appreciated that ; but usually to Steve's good, as
he looked more or less respectable, and Mary was often in
the background, keeping watch of him.

She grew to loathe him, but care for him. His weak-
nesses were his strength
. . . with her. She had
the protective instinct that
cannot leave a man alone
when he needs her, how-
ever unhealthy and unlove-
ly his needs may be.

Things did not brighten,
however. Steve had her to
depend upon, and his
gambling and drinking to
slake his lusts for excite-

ment.

On the day Mrs. Mal-
lory made the request of
her, Mary had been more

ATeM ^^ '

than ordinarily upset. That morning the butcher had been
insistent upon payment, and, just the evening- before, she
had caught Steve rifling the little tin bank where she kept
what she could save for such utilitarian emergencies. The
money for this evening's work . , . was it work? . . .
would help.

There followed a crowded hour of manicuring and hair-
dressing, and gowns hastily commandeered from shops
nearby, and silken lingerie, and perfumes and flowers.
Two maids sprayed her and arrayed her, whirled her and
twirled her ; did incomprehensible things to her hands and
hair, and arms and throat, and then told her she was as
beautiful as the blessed saints, now they'd be praised if
she were not !

And Nelson Rogers seemed to agree with them ... at
least, ocularly. He said he had not wanted to stay over,
just between him and her, but that he was glad now. He
told her that he didn't care much ... or hadn't cared
much . . . for women. His had been a busy, money-
driving life . . . a mistake, he was beginning to perceive.
There hadn't been much of actuality in it, he said, but many
dreams. Still, didn't she think so, dreams had to fit —
had to fit someone, as beautiful gowns fit beautiful forms.
He believed, he said, in keeping tryst with dreams . . .
didn't she ? Mary said she did ; said it miserably, with mem-
ories of Steve before her ; his weak flaccidity, his stale, ran-
cid kisses . . . !

Nelson Rogers said she was like an orchid. He broke
one from the table flowers and gave it to her. "It is my
simile for you," he said. "You seem white and strange,
and remote, and very lovely . . . like this orchid. I . . .
men seek very far for orchids, did you know that ? Brave
great dangers, all that sort of thing. I never thought I'd
come to talk of orchids when I came to talk of ... of oil.
Oil and mergers."

Nelson Rogers didn't say anything very original. He
was neither poetical nor the pre-ordained lover. He had no

iCTuon.
>e- 7

1 method, no finesse. But Mary thrilled to him, be
W 'i was tender, considerate, fine. Because he was
*d strong and true. Things wouldn't happen . . .
lings . . . with Nelson Rogers.

Nelson was absorbed, and didn't hesitate to show it. The
ways and wiles of pretty little Myrtle Craig were lost upon
him.

Mrs. James Mallory perceived that her plan had worked,
and worked exceedingly well. She was too delighted at Nel-
son's interest to feel any apprehension for future catastro-
phe. Besides, Mary was Mary . . . and what could hap-
pen? Mrs. Mallory's was a well-regulated world. Things
did not go askew.

Mary, like Cinderella, escaped and went home at mid-
night. To go home had never seemed so hard, so undesir-
able. Steve was waiting for her, demanding of her. She
told him that she had clone some extra work, and had got
paid for it. "We need the money very badly," she said,
briefly. Steve said he'd say so !

He was suspicious, and Mary knew it. But then, she
knew, too, sickeningly, that Steve would be !

When he had gone out, Mary put the orchid in a cracked
glass, filled with water. She stood and looked up at it, re-
membering him ... It was ever so slightly wilted, from
the strength of his hand, from the warmth of her breast
. . . that was right. She felt ever so slightly wilted, too ;
weary, very weary. An orchid . . . that was what she
might have been . . . instead, she was a very common,
fire-escape variety of flower. There was the dust of the
city upon her, too ; and the hurtfulness of ungentle han-
dling . . . disillusionment.

Still, the orchid had given her something . . . even
momentarily . . .

The next morning, Mrs.
James Harrington Mallory
honored Mary.Maddock with

Nelson Rogers said she was

like an orchid. He broke one

from the table flowers and

gave it to her

i^B

Cpl°2

ION piCTUflF

MACAZINe L

a visit, a flurried visit. She told Mary that Nelson Rogers
had insisted upon seeing Mary again, knowing nothing of
her marriage, and that he had implored Mrs. Mallory's aid.
"It is important, oh, it is most important, Mrs. Maddock,"
the lady said, "that Nelson Rogers remain in town. I have
come to beg you to be my guest for a week or two. In that
way he will be able to meet you quite properly under my
roof, and we can dine and do the theaters together. It will
not be unpleasant for you, and it will be of inestimable
benefit to me."

Mary Maddock shook her head. "I'd love to, for your
sake, Mrs. Mallory," she said, "but I ... I dare not."

"But it is important, my dear Mary Maddock ; it is most
important."

"There are other things, Mrs. Mallory," the girl said,
"that are most important, too."

"Oh, but surely . . . come, then, what are they?"

Mary smiled. Her. eyes sought the orchid. The sun
was on it, and its white fragility startled the heavier air.

"Peace of mind," she said.

Mrs. Mallory groaned. "You

when he had gone, Mary put dont understand," she com-

the orchid in a cracked glass, _i • j <<• r t i_ i j. j.* j.' j.

filled with water, she stood plained ; if I had statistics to

and looked up at it, remem- show yOU . . . '

bering him "Statistics wouldn't induce

me, Mrs. Mallory," Mary said, "half so much as just your
request of me ; but it is impossible. You dont understand.
Some day . . . some day Nelson Rogers would live to
hate you for doing this. You see ..."

Mrs. Mallory protested. "The mergers would be con-
summated then," she said.

"I know," said Mary, "so. would many other things. Dear
Mrs. Mallory . . . you couldn't see this from my point of
view, because it is a distressful one, and I dont zvant you to
share it ; but. please believe me. I cannot come."

Mrs. Mallory offered money and made further pleas,
and then reluctantly departed, warning Mary to let her
know at once if she should change her mind.

Mary promised. That evening she did change her mind.
Steve, during the interview, had been sleeping in the next
room. After their guest had gone, Mary's canary began to
sing. Steve bellowed at it, with the result of a still lustier
carol. He threw his shoe at it, swearing, and cage and bird
/went out of the window, to destruction four stories be-
neath.

Mary didn't speak. She loved the tiny golden bird in all
that was left her of a golden way. Her loathing for the
inadequate creature she had married met, in that instant,
in one concentrated bitter climax. She put away the wash-
ing she was doing and walked to a 'phone booth, telling
Mrs. Mallory she would come to her that evening in time
for dinner.

"I dont care," she told herself, as she made ready to go.

"I dont care. I dont care. I dont care. Some day that

same thing will happen, in another sense, to me. I,

|^_ too, shall be broken to little pieces on these

dreary pavements ... by him . . . . bv his

kind."

That night the Mallorys, Nelson and
Mary, went to the theater. In the
darkened box, while the leading
lady had hysterics over the
man she "luvved," Nelson
Rogers told Mary that he had
learned to love her in twenty-
four hours. "I can only
plead a most rational past,"
he told her, "to prevent your
thinking me eccentric, too im-
pulsive. I'm not. I have a
way of knowing what I Want.
Such success as I have had
has been due to that . . .
faculty. Mary . . ."

Mary shivered with a sud-
den cold. It was like glimps-
ing the delectable gardens,
brilliant, warm, laden, and
then have a door close to in
your face, leaving you in the
cold, in the dark . . .

She tore off a bit of her
program and handed it to him.
He read, "Forbidden Fruit."
"She is being shy," he told
himself, not taking a deeper
import ; "women are ' like
that, I suspect, all of them."

Later that night, after the
Mallorys had retired, Rogers
pleaded his love again.

"It is too great for me,
Mary," he said. "I did not
know I could be so easily the
victim, the glad victim, dear,
of anything. I want you to

flaw

tell me, just tell me . . . dont
you, too, Mary?"

Something sweet and tre-
mendous swept Mary from
her feet, obliterating the dull
common-sense of the years ;
obliterating Steve and all
. that Steve stood for ; the rude
home, the rude work, the ut-
ter lack of all that had made
her spirit sing in other days.
Here, here, she knew, was
her man, her mate ; he for
whom she had been waiting,
the whole god, in whose sac-
red place she had taken the
half god, because he had
worn a crown of summer
roses upon his careless hair.

"I do," she whispered back,
unable to resist the heaven
thrust upon her in this mo-
ment ; "I do, Nelson, with all
that I am, my dearest !"

And for a moment nothing
mattered, neither past nor fu-
ture, save the beating of their
two hearts, suddenly and
miraculously blent. The mo-
ment passed and Mary crept
away to bed, while Rogers
dreamed before the fire a
dream in which oil and oil
mergers had little part.

Very much later that night
Mary stirred in her silken
covering, opened her eyes, sat
up ... to face Steve. Un-
mistakably Steve, despite the
mask he wore on his face, and
which, after the manner of
Steve, had come askew. Be-
fore sleep had forsaken her
sufficiently for sanity, Mary
had screamed." She had re-
acted to the intruder rather
than the man himself.

Steve was upon her. "You've got to hide me, you
damned fool," he said, "or we'll be ruined, both of us.
Hide me . . . use your head . . . quick . . . quick !"

Mary got him into the clothes-press, and when night-
shirted Mr. Mallory, curl-papered Mrs. Mallory and two
servants came in, she apologized for nightmare and sent
them back to bed.

Then Steve came out. Mary was hunched up, her eyes
bright and stricken, like a hunted rabbit's. "What do you
mean by this?" she demanded. "Oh, what do you mean by

this ;..?•»

The man tried bravado, tried crude appeal. "I tried to
get a job," he said ; "couldn't. Not enough for you. A chap
I know at the Club told me there was easy money here . . .
I'm a Socialist anyway . . . it's no more than right . . .
honest labor going unrewarded, while you . . . say, what
th' hell are you doing here anyway, dolled up like some
street woman, and sleeping like a queen ? What's the game,
that's what I come to find out ? What's the nifty little game
you're putting up while old Steve sneaks around and turns
thief to protect you. You dress yourself and come out and
join me in ten minutes, or I'll squeal, and let the whole
thing out of the bag. Mind, now, no monkey-shine. I'll
settle with you in the way your kind understands."

When they were alone, Rog-
ers came close to her, bent
over her. "Once you told
me," he said, "that Prince
Charming had come into your
life . . . now that you are free
. . . tell me, dear heart, is he
still . . . where he was?"

Mary nodded. She was
numb . . . too much emotion.
Her tongue was too large for
her mouth. Her head was
swimming.

Steve started out the win-
dow, but retraced his steps
with an oath. A policeman, he
muttered, was guarding the en-
trance. He would have to try the front stairs, take his
chances. Mary, believing everyone in bed, and too terrified
to think very much about it, nodded again. "You be out in
ten minutes," Steve said, and slunk out.

Mary dressed. In her old things. Steve ... a common
burglar. Heaven, how low he had sunk ! How low they
both had sunk, that any man with whom she was connected
could come to this ! What was the matter with her that she
had not been able to make him see stars rather than mud ?
Love? She couldn't give him that, when he had trampled it
under foot. But help *. . . courage . . . the will to live, to
rightly live . . . why hadn't she given him that ?

A clashing noise shattered her own thoughts. Lights.
. . . noise . . . the household awake . . . Mary sickened
(Continued on page 115)

Photograph by Evans, L. A.

"Love and marriage must not
come for a long time yet,"
said Dorothy Devore. "I
have so much to do before
that should enter my life.
Then, I'm old-fashioned, and
I will want to be very sure
of it all, because I will want
my marriage to last"

INTERVIEWING Dorothy Devore
proved to be a fascinating delight, for this
youthful comedienne has a very definite
and piquant personality and, tho her
screen life has been devoted to merry-making,
she is in reality a demure and thoughtful girl,
with a level head a-top her slight shoulders
and with great big ambitions.

It was refreshing to get life's viewpoint thru
her happy eyes — there is nothing artificial and spoiled about her, she is
candid and ingenuous, with a boyish sincerity.

Her motion picture career has extended over two short years, but in
that time she has become the idol of a large array of picture fans all over
the world as the dainty heroine of .those highly amusing one-reel Christie
comedies, involving domestic complications, with which she has become
identified.

Now, we all knew how delightfully she could play these roles, but when
she flashed forth on the screen recently, as Mary, in "Forty-five Minutes
Prom Broadway," Charlie Ray's first independent production, we sat up
with renewed interest, for we beheld a real actress with subtle and con-
vincing technique.

As the naive and alluring Mary, Miss Devore reached a new rung in her
ladder of achievements and now Al Christie is to star her in a
series of two-reel comedies which shows that the Fairy God-
mother who watches over her destinies has been busy.
54

Afl£

A Toiling Lily

"Isn't it xvoyiderfnl?" de-
manded Dorothy, as we contem-
plated her radiant future. "Of
course, I do not want to remain
in comedies always, but I real-
ized while I was working with
Mr. Ray what a valuable train-
ing it has been, and if I had i*
all to do over again I should do
exactly as I have done ... go
into comedy, and under Mr.
Christie's direction, too. You
learn so much that prepares you
for the heavier work of emo-
tional and dramatic acting.
Chiefly, you learn to space. Do
you know what I mean ? In our
comedies we must put over a
situation in a few feet, perhaps
six or eight ; and this requires a
concentration of acting where
every move carries its meaning.
We work so fast in comedy that
I had to keep toning myself
down all the time during the
making of "Forty-five Minutes
from Broadway," and remem-

PhotoRraph by
Spurr, I.. A.

■■»«

By MAUDE C

ber that we had feet in which to tell our story, and plenty
of time.

"Usually I play the fluffy, ingenuish parts, while in this
play I acted on the screen just as I do in real life. I'm not
naturally very funny — that's all acting — but as Mary I was
myself, arid, oh! Mr. Ray is wonderful to work with. I
felt gratified when he chose another Christie girl for his
next picture . . . Laura La Plante is playing with him
now . . . for it showed that he thought I wasn't so bad."

The lunch hour at Frank's, in Hollywood, becomes some-
thing of a studio meet, for on all sides of you are to be
found scintillating stars from Lasky's, Micky Neilan's and
Christie's^ who congregate there. At our right was Mar-
jorie Daw, with a girl friend, giggling over a bunch of let-
ters ; to our left sat George Melford, Milton Sills and Jack
Holt, deep in some weighty discussion, while the lovely
Mabel Tuliene Scott, with some friends, sat across the
aisle, and other celebrities were generously scattered about.

At our small table, Dorothy glowed and dimpled, while
I drew out her short story of dreams and hopes, early ef-
forts and struggles and recent successes.

Naively, she announced that this was only
her second interview. "The other
didn't take," she laughed, mis-
chievously, "for I couldn't
think of a thing to say, and,
after all, they had to use a
group of pictures and
leave out the inter-
view."

To begin with, '
Dorothy Devore
isn't her real name
at all. "Hold
your breath while
I tell you the
prosaic one with
which I was
christened,"
she laughed.
"It is Inez Will-
iam s ! Mr.
Christie thought
it was too long, -
so out of the very
air I plucked this
stagy one. Sounds

y Stories or a French dime novel. I would
c.anye it again, but do not want to lose all the friends I
have made with this one, so am doomed to be Dorothy
Devore for the rest of my days."

"Suppose love and marriage should come?" I ques-
tioned, thinking of one way out, tho, personally, I think
the name suits her vivid, vibrant personality.

"It must not come for a long time yet. I have so much
to do before that should enter my life/' she replied with
girlish frankness. "You see, I've been playing wives with
their complications of divorces or near divorces — usually
with in-laws interfering — until I have become a little
wary. Then, I'm old-fashioned; I want just one marriage,
that will last. Guess I'll marry an orphan. That will be the
safest," and she was again her gay self.

Dorothy is a little, slim, wisp of a girl— measuring all of
five feet one inch in height — a floating bit of alluring fem-
ininity. Her eyes are of a warm, melting brown, so dark
that at times they are black of unfathomable depths. Her
nose suggests the up-tilt, which probably explains one rea-
son she has been cast in comedy roles, and in all
ways does she answer the description of a
"cute girl."

Over the 'phone, her mother had
called me "Honey," Vith that
soft, caressing voice belong-
ing to the South ; so I was
not surprised to note a
decided touch of the
Southern accent in
Dorothy's voice.
She was born in
FortWorth.Texas,
and was reared
(Continued on
page 112)

"There wasn't any-
thing romantic
about my start-
i n g to w o r k,"
said Miss Devore;
"it wasn't the result
of any compelling
artistic urge . . . you
know ; it was simply
because I wanted to
take care of Mamma"

LA££

w *• dL LL work and no play makes Jack a dull boy."

/\ Not only Jack but all screen artisans as
f m ^^ well, is the belief of King Vidor.
^^ ^^ In fact, the Vidor studio gives one the
impression of a fun factory rather than a serions tem-
ple dedicated to art. Between scenes the actors talk
and laugh, tell jokes about one another's acting,
compose jazz tunes on the organ and conduct them-
selves generally like a bunch of high school kids at
recess.

The absence of emotional tenseness, of high strung
temperament, of heat and drive and hurry, as com-
pared with other studios, struck me as the Sabbath
silence of a country town contrasted with the blare
and bustle of New York's Broadway.

Mr. Vidor believes that this natural unemotional
atmosphere is highly necessary to the production of
true-to-life pictures, — and his creed, ten command-
ments, and beatitudes are all incorporated in that one
phrase: "As in life ..."

"I never use any sure-fire tricks in producing a pic-
ture," he told me, "that is why I believe in surround-
ing myself with young, sincere people, that is why I
let them play, and play among themselves, between
scenes — then the action never becomes stereotyped.

"I have one great principle — to produce pictures
that everyone can understand. Pictures with such
universal themes that the inhabitant of the smallest
hamlet and the richest home can both place them-
selves in the story and say,
'There, those experiences
might have happened to
me !

Such wisdom at the age
of twenty-seven years is to
be marveled at — a charm-
ing quality, yet one seldom
met.

Besides being a famous
producer at twenty-seven,
King Vidor is a prodigy in
many other ways. His ut-
ter lack of any theatric-
alism has already been
touched upon, his human-
ness and ability to play is
another, the fact that he

King Vidor believes
a natural unemo-
tional atmosphere is
highly necessary to
the production of
true-to-life pictures
. . . and his creed,
ten commandments
and beatitudes are
all incorporated in
that one phrase, "As
in life." Above, a
camera study of Mr.
Vidor, and left,
with Florence Vidor
and Suzanne

57 P

the birth of Suzan n e, his
daughter — and since then the
road, the King Vidor road, has
been pretty smooth traveling.
Promoters had such faith in
him that without a sign of col-
lateral they handed fifty thou-
sand dollars over to him to
make his next picture.

Now King Vidor owns his
own spacious studio, but his
manner of running it is as sim-
ple and sweet as in the old days
when he had but one corner to
call his own.

He wishes to build up the
big tract of land he owns on
Santa Monica Boulevard, Hol-
lywood, into a settlement simi-
lar to that of the former Elbert
Hubbard settlement in East
Aurora, New York. He wants
to have cottages for his co-
workers and a community hall
where they can get together.

He is, I might add, a Chris-
tian Scientist.

But his picture belief is al-
most summed up in one sen-
tence:

"There is no room today for
the ordinary schedule picture,
and I believe in producing only
pictures that are true to life."

Now King Vidor owns his own spacious
studio, but Bis manner of running it is
as simple and sweet as in the old days,
when he had but one corner to call his
own. Left, a new photograph, and below,
with Colleen Moore

Photograph by Hoover Art Co.

has reached the goal of his long
cherished ambitions is a third.

When he was at the age made
famous by Booth Tarkington, his
first scenario was accepted by
Vitagraph and he was paid thirty-
five dollars for it. Almost immedi-
ately, he migrated to Los Angeles
to be in the center of film circles.

When he conceived the idea of
branching out for himself, he was
just twenty-five years old and
rather newly married. It was at
this time that ' he originated the
theme of "The Turn in the Road,"
and had such belief in it that he
pooled all their resources in its
production.

"The Turn in the Road" might
be rightly termed not only the
product of King Vidor's brain,
but of his brawn as well, for he
wrote the scenario, designed the
sets, helped erect them on the
tinv ^udio space he rented.

Kualleling the success of
(\ "The Turn in the Road," came

Afi£

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Taking the Sun Out of Sunday

Just now a wave of agitation, called puritanical for want
of a better word, is sweeping the country. Efforts are un-
der way to make rigid laws aimed at any sort of activity,
other than churchgoing, on Sunday. If the so-called "re-
formers" have their way, Sunday newspapers, baseball,
golf, motoring, and even walking, except to arid from
church, will be made illegal. In other words, we will see a
step backward to the days of witch-burning, the ducking
stool and the pillory.

The Motion Picture Magazine believes in a sane and
healthy worship of God on Sunday, along with every other
day, and it also believes in enjoyable recreations on that
day. It believes that, if communities wish motion pictures
on the Sabbath, they should have
them.

We advise our readers to watch affit-yf^ •

the newspapers of their localities in
regard to this agitation. If it be-
comes at all serious, we advise our
readers to write at once to
their Congressmen, Sen-
ators and other leg-
islators. Please do
not look upon the
Government as a
thing apart from
you. You are a part
of the United States
Government. And,
as a part, you have
a right to voice your
sentiments.

Speak out! ^^

he New York stage is buried under a wave
of ■runicimiLi.sm. There is "Deburau," of gay Paris in
the 1830's":'"The Prince and the Pauper," of the roister-
ing clays, when Elizabeth was but a princess; "Little Old
New York," built about the era when Manhattan was
young, and several highly colored Spanish dramas.

You are going to see the costume play on the screen.
Already several are on the horizon. There's "Old Curi-
osity Shop," with Bessie Love, and "Camille," with Nazi-
mova. Watch for the reign of romance!

The "Motion Picture Magazine" believes
in a sane and healthy worship of God
on Sunday, along with every other day,
and it also believes in enjoyable recrea-
tions on that day

Vogue and
Public Taste

It is interesting
to note the pendu-
lum swing of public
taste. A wave of

South Sea lure seeps thru literature, topped at the crest
by Somerset Maugham's "The Moon and Sixpence," and,
lo, the screen reflects the same vogue of the tropics. Wit-
ness the success of David Griffith's "The Idol Dancer," and
of other photoplays of the lonely seas.

The stage sees a turn towards the Orient in "Aphro-
dite," in "Mecca," and in other spectacles, and straightway
the silversheet catches it in Otis Skinner's "Kismet."

•Just now there is a turn towards the small town story.
Note the success of Sinclair Lewis' "Main Street," and
of Floyd Dell's "Moon-Calf." Already the same vogue is
apparent in the films in the whirlwind hit of Griffith's
" 'Way Down East."

What will be the next turn ?

Beauty and Horror

Recently the screen saw the appearance of an exceed-
ingly sordid and
exotic tale, done
by a very able di-
rector. It was
told with superb
c i n ematographic
art, many of the
scenes being ver-
itable paintings.
Yet this was
all the more un-
fortunate, since
it gilded an opus
of exceeding
danger. For in-
stance, the hero-
ine becomes a
drug fiend. All
this may appeal
to a certain so-
phisticated film
fan element, but,
before the great
part of the
American public,
it will damage the film
play.
Let us not lose our perspec-
tive. The big part of America

is healthy, right thinking and resentful of any exploitation

of the sordid.

• The Coming of tke Romantic Film

Our guess is that the costume picture is dawning. The
success of "Passion," the visualization of the life of Du-
Barry, alone would bring down a number of similar pro-
ductions. For such is the way of the film!

Silence in trie Film Theater

Curiously, no one seems to have stopped to analyze the
eternal silence in the film theater. Did you ever attempt
to whisper to a neighbor in the gloom of the photoplay,
thereby bringing on a circle of angry glances arour'd you?
There's a reason.

Pearl White, at a recent dinner, attempted to explain it
by saying that the motion picture demands a steady creative
effort on the part of the audience . . . a far greater effort
than the spoken play. Each spectator must supply dialog
and color. To have audible words spoken about one causes
a disturbing cross-current.

It is plainly a study in psychology. And it is also an in-
ter- ■', ting commentary upon the movie's stimulation to the
; .gination. n

50 }

PA6U

What Makes A PKotodrama

NLESS somebody
" since our Sunday-
rn a d e with
straw. Photo-
-dramas, too, have their
Jjasi.c elements. The fun-
damental element in any
play, stage or screen, is
•drama.
;. .It. should be explained
at the outset that the word
"dramatic" as herein used
is a technical term of the
theater having nothing to
do with the common usage
as meaning "spectacular'"
or "theatrical." It is ex-
ceedingly hard to grasp
exactly what is meant by
a playwright or scenar-
ist who speaks of a dra-
matic story, as the quality
is most intangible. But
until you do grasp this
meaning, you will never
write for the stage or. the
movies, however success-
ful you may be as a short
story writer or novelist.

Since the days when
Euripides held his am-
phitheaters spellbound,
playwrights and critics
have known that there was
some quality which differ-
entiated the successful
play from the successful
story or novel or poem.
It became a recognized
fact that while the plot of
almost any good play
could be made into a novel
or short story, the con-
verse was not true. Not
all novels and short stories
make good dramas or pho-
60

has changed the formula
school days, bricks must be

Photographs by Charlotte Fairbanks

todramas. There are still divergent views, but today
most of the authorities agree on the following formulas of

stage craft :

The fundamentals of
drama arc Conflict and
Crisis.

Conflict means the
struggle which continues
between two opposing ele-
ments thru out the story.
This does not mean a
physical struggle. It does
not even mean a conscious
mental struggle.

For example, the con-
flict might be between two
social orders, as in "The
Birth of a Nation," or be-
tween Good and Evil, as
in "The Miracle Man," or
between a man and his
Destiny, as in "Kismet."
or between racial preju-
dices, as in "Broken Blos-
soms," or between youth
and age, as in . Ibsen's
"The Master Builder," or
between an artificial moral
code and the realities of
life, as in "Way Down
Fast." It might be simply
between two men who
love the same woman, as
in French triangle plots.

"Unless somebody has changed the
formula since our Sunday-school
days, bricks must be made with
straw. Photodramas, too, have their
basic elements. The fundamental
element in any play, stage or screen,
is drama," say John Emerson and
Anita Loos. Left, a new portrait
of Anita Loos, and top. Miss Loos
and Mr. Emerson, searching for
copy in the day's news and examin-
ing manuscripts which have been
submitted

'Hi^hif

\ \

JOHN EMERSON and ANITA LOOS

But if there was this element of conflict and nothing-
more, still there would be no drama, for the struggle
would end peacefully in the first half of the first reel.
There must be Obstacles — another technical term of play-
writing — placed at the outset to prevent the opposing ele-
ments from coming together. The obstacles must be abso-
lutely logical and must be of sufficient proportions to
convince the audience that they could not lightly be pushed
aside.

In "Way Down East," the obstacles are the heroine's
unhappy past and the prejudice of the Squire against what
he terms "immorality." Together they prevent the lovers
from coming together, just as in our own recent adapta-
tion of "Mamma's Affair," for Constance Talmadge, the
lovers are separated by the mother's unthinking selfish-
ness. In "The Miracle Man," the crook's own blindness
to the good and the beautiful of life prevents his finding
the love and happiness for which he seeks. In "Broken
Blossoms," the obstacle lay in the fathomless abyss of
racial prejudice which yawned between the aesthetic
Chinaman and his little Limehouse love. Sometimes the
obstacle is merely a misunderstanding. Farces are usual-
ly this way ; and recently we did a picture for Miss Tal-
madge — "Dangerous Business" - — in
which the girl completely mis-
understood the character of
the man with whom she
was, unknown even
to herself, in love.

Finally we come
to the matter of
Crisis.

In drama,
the conflict
must come to
a positive
head in some
one big scene,
preferably in
a series of
scenes, each
one more in-
tense than the
one preceding. In
the crisis, the mat-

Photograph © by Underwood & Underwood

"If you are to write scenarios, you must first of all un-
derstand dramatic qualities," says Miss Loos, "and the
best way to do this is to read the best plays in your
local library and write them into five hundred-word
synopses." Above, a new portrait of John Emerson; cen-
ter, Mr. and Mrs. Emerson, working on a new film, and
below, projecting a picture ; reading from left to right,
those seated are John Emerson, Conway Tearle, Con-
stance Talmadge, Miss T. Bankhead and Anita Loos

ter is fought
out once
and for all ;
the conflict
is settled.
Either the
hero van-
quishes the
villain or, in
tragedy, is
vanquished
b y h i in ;
either man
conquers
Destiny, or
Destiny con-
quers man ;
either the
lovers meet
( Continued
onpagc\2\)
61

PAfi

Photograph by
Melbourne Spurr, L. A

"Inspiration to be perfect
must come wholly developed,"
said Miss Weber. "It is like
making a dress. ■ When you
begin fixing this, altering that
and inserting something else,
the pattern is spoiled; it be-
comes patchy . . ."

high pace in its

HEN the history
of the dramatic
early develop-
ment of motion
pictures is written, Lois Weber
will occupy a unique position.

Associated with the work
since its infancy, she has set a
growth, for not only is she a producer of
some of the most interesting and notable productions we
have had, but she writes her own stories and continuity,
selects her casts, directs the picture, plans to the minutest
detail all the scenic effects, and, finally, titles, cuts and as-
sembles the film. Few men have assumed such a respon-
sibility.

Just what Miss \\ eber may think of the feminist move-
ment, I do not know, for that is one of the few subjects on
which we did not touch during our interview. However, I
am quite certain that she has never marched in a parade,
carried a banner nor made speeches in its support; yet she
is doing a lion's share toward broadening the horizon of
women's endeavors, and her brilliant accomplishments
should act as a spur for the ambitious but halting ones who
long for the freedom of self-expression found in a vocation
of their own, but who shrink from the responsibilities and
62

Tke Muse
of the Reel

increased obligations
which come when they
step out among the
world workers.

To me, Miss Web->
er's greatest . achieve-
ment is that she has re-
tained all her womanly
charm ;■ in fact, it
might seem that her
feminine qualities have
been intensified rather
than diminished dur-
ing the development of
her rich nature in its
artistic and intellectual
aims.

Glancing about the
cozy study in Miss
Weber's own pretty
studio in Hollywood
. . . from the dancing
flames in the fireplace
to the great bowls of
gorgeous dahlias, the
wide couch, heaped
with pillows, drawn
invitingly near the fire,
and the stunning
carved teakwood desk
before which she sat
... I felt the definite
touch of a woman's
hands.

She wore a simple
black crepe de chine
gown, the soft folds
clinging to her superb
Her eyes are dark brown
and very bright, while soft brown
hair frames an animated face, and alluring dimples play it)
either cheek. Lois Weber is a beautiful woman today, but
one can well imagine that she was a superlatively lovely girl.
"No wonder you can woo the muse- in these satisfying
surroundings," I sighed, contentedly sinking into the depths
of a comfortable chair.

"Environment has nothing to do with inspiration," quiet-
ly responded Miss Weber.

"Do you really believe that ?" I asked, aghast.
Slowly shaking her head. Miss Weber smiled. "I am
sure of it. Inspiration just comes . . . out of a clear sky
... no one knows its route, no one can summon it; least
of all, four walls or geographical locality."

"But environment . . . certain things . . . drive the
thoughts along channels that invoke this unseen thing . . ."
I persisted.

"No. I am quite positive that where we are has nothing
to do with inspiration. Once 1 thought as you do, and I
dreamed of a lovely garden, peaceful and far removed
from the interruptions of everyday life, where I could
catch the harmonies of this creative imagination. Well, I
realized my garden . . . it is peaceful . . . looking out on
the picturesque Hollywood Mountains. I took my pad and
pencil, sat in an artistic bench and waited to respond to the
Voice. It did not come; it never has come . . . there. In

figure.

BS ALINE. CARTER

the crowded streets, here in ray study, at most
unusual moments . . . unsought . . . comes the
story . . ." and she smiled as she watched
my doubts change to reluctant belief under
her decided assurances.

"Another thing," res uued Miss Weber,
"inspiration, to be perfect, must bring the
story wholly developed, a finished product
. mentally. It is like making a dress.
When you begin fixing this, altering
that, and inserting something else, the pat-
tern is spoiled, it becomes patchy . .

On the desk before her were strewn
pages of the continuity she is writing for
her fourth picture under her present con-
tract with the Famous Players-Lasky.
The title is intriguing, ''Married Stran-
gers." She has taken what she consid-
ers a typical cast. There are two women.
One a marvelous housekeeper, sincere,
loving, unselfishly striving to please, yet
failing utterly as a wife." The other
woman is frivolous, scheming, playing the
marriage game for all it is worth, but
making a successful, wife by keeping the
machinery hidden.

''It hurts to see how frequently good
women fail as wives," said Miss Weber,
sadly." She wearies him with her loving so-
licitude. Gratitude does not belong to man.
He wants to be let alone and . . . amused.

"If women would only understand that
many men are not half so interested in a well-
ordered house as they are in a well-groomed
wife, things might be different. If she
pretty and is in a cheerful mood at breakfast, ten to
one the cold toast will not be noticed . . . that

Photograph by
Melbourne Spurr, T,. A.

"There is no doubt
that marriage is the
most important event
in our lives . . . and,
at the same time, the
least studied or under-
stood," said Lois
Weber. Above, a new
portrait, and left, at
work on the scene

what I am
bringing out
in this story.

"The wise
wife bids her
husband a gay
good - bye in
the morning
and then for-
gets all about

him, while the other watches him from
the door, fier heart in her eyes, and
i f he fails to glance back at the cor-
ner her day is clouded. When he re-
turns at night, he finds a wilted rose
at the dinner table instead of a jolly
little pal, full of pleasantries picked
up during a day spent in shop-
ping or at the matinee, which makes
him forget the day's drudgery at
the office.

(Continued on page 105) n

63 }
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We entered. We ordered. WI *T^ TT OW does the East-

Seizing a London Sketch from L^J er „ mo Vie Star

a file to hide our inquisitive , . . r

eye. we gazed about. Not X JL amUSC h , lmSelf OT

a film celebrity in sight! herself ?" writes a

screen fan. "We all know
that the film folk in the West
eat at the Alexandria and the Ship, that they go in bathing
at Venice and attend the prize-fights at Vernon, but what
'ioes the celluloid celebrity do at night (or even by day),
Jv New York? Please tell us."

Which is fair enough.

Why should unrelenting publicity be given to Pacific
coast amusements and nothing be said about the movie
star's giddy life in little old Manhat-
tan? Fair enough, said we, gathering
pencils and other equipment necessary
to a prolonged investigation of the
wicked city. .

"Go to the Claridge at tea time,"
confided a person who ought to know.
"You'll find 'em all there !"'

We went. Not once, but several
times. Either we picked off days or
the famed ones of the silversheet had
dropped oolong for the nonce.

Between slices of cinnamon toast we
finally told our troubles to the head
waiter.

"Famous people," he responded, im-
pressively. "Of course, they're here.
See that blonde over there, the one
with the . . . er . . . almost invisible
stockings."

We saw. The blonde, that is — not
the stockings.

"She's Tessie Vanderbilt of the
Winter Garden chorus," at which we
gasped.

"And that dashing brunette at the
side table. The one with the green
cigaret holder. She's Mazie Gould
of the Ziegfeld Roof. You can see for
yourself that all of the big stage people
have tea here."
64

A6£

Food, Folly
ana Fame

By
FREDERICK JAMES SMITH

We were just about to pass up the
Claridge when the head waiter hurried
after us. "Richard Barthelmess was
here last night," he said.

We checked this in our notebook,
paid twenty-five cents to redeem our
hat and started out upon Broadway.

We had been told to seek out Keen's
Chop House in 44th Street. Here, it
was whispered to us, the big men of
the film acting game ate nightly.

We entered. We ordered. Seizing
a London Sketch from a file, to hide
our inquisitive eye, we gazed about.
Not a film celebrity in sight !

At the next table two necktie sales-
men were engaged in a violent quarrel
regarding the spring necktie prospects.

At another table two Wall Street men were noisily try-
ing to select a play for the evening. "Not too highbrow,"
was their slogan. They finally picked "Afgar," the
naughty musical show with the super naughty Delysia,
as being the right mental stimulus.

We called Paul Hinkel, the
manager. "An off night " said
Paul, "altho the actors dont
wander around the way they
once did — before last July.
Dick Barthelmess was in here
(Continued on page 119)

"See the blonde over there,"
said the waiter, impressively,
"the one with the . . . er
. . . almost invisible stock-
ings? . . . She's Tessie Van-
derbilt, of the Winter Garden
chorus"

■P

NANCE ABBOTT had
been brought up with
the simplest of creeds
by the shallowest and
hardest of mothers. At least,
however, it can be said for her
that she did not complicate
Nance's outlook, mental or emo-
tional, by softnesses and senti-
mentalities.

She taught her that money was the be-all and end-all
of any well-regulated existence. She taught her that to
be well regulated was absolutely "the thing." And she
finished up her basic religion by informing the girl that
her own beauty was the cash whereby to purchase the
desirable things.

Nance believed her. She was too indolent to do other-
wise, and besides one is apt to believe the voice dinned
into one's ears from cradlehood on. Especially when it
is an easy thing to believe and not unpleasant. Distinctly,
the things her mother advocated and her father, being
busy and disillusioned, ignored, were not unpleasant to
Nance. They consisted, in detail, of expensive dining and
wining, soft silk against soft skin, town houses, country
houses, entertaining mad and bad enough to beguile the
hours that might otherwise have been cursed with the
ultimate damnation of ennui.

That Willie Chase represented these things was rather
too bad. Still, as her mother pointed out to Nance, such
was life. And Willie was not so bad. Admitted, he was
a bit obese — too much food and frivohty. He was not
superlatively cultured. When a girl dreams amber dreams
under a moon of suffering jade it was not of Willie Chase
she would dream. Mrs. Abbott admitted all that, too.

Once, Nance said, "Of course, mother, I dont love
Willie. So it's rather beastly."

Lying Lips

By
IANET REID

And her mother had with-
ered her with a glance and a
pile of unpaid bills smother-
ing in their insistence. Nance
had remained quiet. Willie
Chase was owner of coal
mines and various millions,
in themselves amply sufficient
unto his lack of pedigree and
personal perfection. And he
was mad for Nance. That he exhibited his appetite in
that direction much as he exhibited his appetite for a
savory portion of the menu was simply a part of Willie
you had to learn to stomach without active nausea. Nance
was rather good at that sort of thing. Her training. Her
mother. She had got to marry Willie Chase. She was
fatalist enough to admit to the entire probability of that.
Had she not met, just as she was on the point of setting
the day, a young army captain, one Conning Godfrey, and
from him caught an aura, however faint, of what real
romance might be, her life might have taken a different,
a more different line.

For a while she thought it quite probable that she was
in love with Conning Godfrey. He thrilled her when they
danced together, and when he first came into her little
drawing-room from the pavements, fit, erect, glowing with
his youth and health. When they didn't dance, and when
they were merely having tea or talking, his poverty and
his probable obscurity took dreary shapes in the fore-
ground of her intelligence. Then, too, her mother spent
most of the time,, while Nance was with the Captain, in
tears. She thought her. father looked less important daily.
And the tradespeople, evidently having caught wind of
the affair and the chronological break with the opulent
Willie, were positively threatening.

Nance sent Captain Conning Godfrey about his tm-

■558*1

0¥sssssn

important business. She admitted that she might have
loved him; that he had given her a glimpse of what love
might mean, but that the glimpse was neither broad enough,
nor rosy enough, to 'shut out the pale insistent hands of-
insufficient luxury. When he talked to her of dreams,
she came back at him with tradespeople. When he spoke
of building, she spoke of the materials jiecessary thereto
and told him how costly they were. . '-She^ quenched his
romanticism with her: creed, her mother's; 'creed, aijd he
went away.

After he had gone she felt rather, rotten. She missed
him. She had thought Willie would be more bearable after
the contrast of the Captain and his, ineffably hurt blue
eyes were removed, but such was not the case. What with
the strain of that ; her mother's perfumed persistence ; her
father's irritating if lovable non-importance, and Willie
... always Willie ... Nance had the popular, present-
day nervous break-down. She begged a vacation. She
told Willie and her family that if they would send her
to Canada for a brief stay with her Aunt and Uncle'

Prospect, she would announce
her engagement before leaving

They rode Nance on her d consummate the bargain U P OU

beautiful black mount, and ■.'.'.-■

Blair worshipped her on HCT return.

the way Willie was disconsolate, - but

agreeable. He really loved Nance after the manner of
his kind. Her cool- beauty, her slim insolence, her green
eyes and white thick skin ... It was hard for him to
look at- Nance without a film of passion and of tears
clouding his small, beady eyes. It was hard for him to
talk i to- Nance, because his voice choked with the: things
he felt but could never articulate. His hands were more
awkward than was their wont when they touched her,
for ,that she was so elusive, so delicately evasive. For
one hour of hot response from her, Willie Chase would
have kissed his millions a glad farewell, one by one . . .

Nance went to Canada. On the way she felt as tho
shackles were dropping from her, silken shackles, but
smothering and breathless.

She liked her Aunt and Uncle Prospect. They had
some money, but they had worked for it, hardily and in
comradeship. They had not lost their illusions nor their
perspective. They still maintained a few sentiments and
believed in God. They observed the Holy Sabbath and
thought love the mainspring of the gigantic watch of life.
They were quite normal persons. With them was Leila
Dodson, a poor relation. Leila was something of their
kind save that she thought that she was born for better
things, which grew to be a passion with her and was pro-
ductive of all sorts of unpleasantnesses. Otherwise she

might have been really
a decent sort. Nance
did not dislike her.
She thought her ego-
tistic and silly over
trifles. But as they
were both out for self-
advancement, each in
her own way and her
own sphere, they real-
ly had very little come-
back, the one at the
other. They got on.

The night she ar-
rived Nance had an
adventure. It was al-
most the first one she
had ever had, at least,
alone and it didn't ter-
rify her so much, as
it amused her. Her
Aunt and Uncle did
not meet her, owing
to some slip-up on
time, and an Indian
was walking calmly
away with her suit-
case, while she pon-
dered directions, when
it was rescued and re-
turned to her by a tall
young man with keen
eyes and a warm smile
under his level brow.
He said that he was
Blair Cornwell, a
friend of the Pros-
pects' and that he
would be glad to es-
cort her to their home.
The way was rather
bad, and for a stranger
. . . Noting Nance in
her slender soft things,
his eyes said more . . .
they took the long
walk together, under

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the observant stars. Cornwell commented on their observa-
tion, all that they had seen, such millions of years . . .

"How weary they must be," Nance said. She did not
know that her own voice was weary.

Cornwell glanced at her, pale, young . . . His heart
contracted. What had put that weariness into her voice?
That pallor in her face? That droop to her mouth, to
her shoulders? She looked soft and silken. It wasn't
her body — no. What, then, had they done to her soul?

Eventually, he was to find out, as one does find out
things when one, obsessed, wants to.

He began by coming frequently to the Prospects. As
he had been in the habit of dropping in on Leila every
now and again, it did not seem strange — at first. And
then, because Leila told them so, it became apparent that
Blair Cornwell was in love, as, probably, he had never
been in love before, with Nance Abbott. The way ..he
looked at her — the way he spoke of her — the way his
fingers lingered when it became necessary for him to ren-
der her some commonplace service.

Leila, because of vague jealousy of this man she might
have had and now could no longer have, dilated to Nance
on his poverty and his disregard of it. The things he
liked — "crude, ugly things, you know," she told Nance,
and her eyes appraised and compared as she spoke of Corn-
well's poverty, the silken
finish of Nance. Her
words implicated — "You
— you and Blair Cornwell
■■ — ridiculous !"

It did seem ridiculous —
away from him. But with
him — dancing in the Pros-
pects' parlor to the abandon
of "Mandalay"— ah, it did
not seem ridiculous then,
nor even difficult. Crude
things seemed merely pic-
turesque and primitive.
Hardship but romance.
Her blood rose to his chal-
lenge for the first time in

LYING LIPS
Told in short. story form by permission from the As-
sociated Producers production, based on the scenario of
Bradley King; adapted from the novel "The Magic Life,"
by May Edington, and directed by John Griffith Wray.
under the supervision of Thos. H. Ince. The cast : —

Blair Cornwell. . ...-..- .House Peters

Nance Abbott .Florence Vidor

William Chase Joseph Kilgour

Leila Dodsqn Margaret Livingston

Mrs. Abbott Margaret Campbell

Mrs. Prospect. .Edith Yorkc

Mr. Horace Prospect. Calvert Carter

John Warridge. ....• : Kmmett C. King

her dilatory life. .There was Nance knew better, but

within her a- tremendous response she went ^j™^-. lt was

.- 1-1 i j-rc 1 1 i so pleasurable, this doing

ot which she was diffident, almost of things one knev , one

ashamed. She recognized that it shouldn't

was a weakness where it should
be strength. It was a weakness,

because it would stand, redly and triumphantly, between
her and her pre-accepted destiny. Destiny being Willie
Chase, coal mines and millions. And so she loved him
when she was with him, dancing with him, walking with
him, and when she was away from him she fought him
and clung on by insistent thinking of them to the splendors
that would be made possible by the coal mines and other
assets of Willie Chase.

The Prospects' favored the potential match. They
didn't, they said between themselves, like the look of
Nance's eyes ; the philosophy she seemed to have evolved ;
the droop and shrug of her indifferent shoulders. "She
is more than wise," they said, "she is weary -wise. She
has ever been a fool, a beautiful fool, living in a fool's
beautiful paradise. Blair Cornwell is the man for her.
He will teach her to be young."

On the last night of Nance's stay with them, the Pros-
pects gave a dance for their charming niece. They outdid
themselves, because they really loved and were proud of

Nance and, too, because
they thought it might bring
about a climax between
her and Blair Cornwell.
It did. In a way.
It was a gorgeous night.
The stars were individual
and made solitary little
lakes of gold in a sky
supernaturally black. The
air was laden with balsam
and sweet-smelling things.
There seemed to-be the
flutter of heavy wings
about them.

Blair begged Nance to
ride with him in his canoe.

67 I
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wra*K uR E

After he had gone, she "The night was made for it,"

felt rather rotten. She he pieced, "and for you—and

missed him. She thought ,,

Willie would be easier to - ■ ■ ■

go to, but such was not Nance knew better, but she

tl >e case went anyway. It was so pleas-

urable, this doing of things one
knew one shouldn't. An exhilara-
tion, product, doubtless, of this thrilling new land, cram-
med full of adventure and men — actual, vital men — men
like Blair Cornwell, strong and sane and sufficient.

On the river the canoe split on a rock and Blair had
to carry Nance to shore. When he put her on the ground,
he held her to him.

"I cant help it," he said, "I — I know something- o'f you.
That's why I haven't spoken sooner. I have thought you
were not my kind; not for me. Tonight I know differ-
ently, know better. It isn't a question of whether you're
my kind or not. No. that isn't the question at all.. You're
my woman — that's what matters. That's all that matters.
Answer me; you are, aren't you? Say it, Nance, say it,
for God's sake !" x .

Nance lost her sense of humor, the only thing, that
could have saved her with the derisive stars grown melt-
ing in the sky and the fire primeval raging in. her quick-
ened blood.

"I do say it," she answered, shaken. "Ah, I do — I do
— I do ... "
(T\ "You have said it," the man answered; "you have said

it — oh, my darling!" and he
kissed her on her mouth, on
her shut, envisioned eyes, on
her dark secretive hair.

London and debts, her mer-
cenary mother, her unimpor-
tant father, Willie Chase and
coal mines, all seemed very far
away, as tho they did not mat-
ter, nor had ever mattered.
Tomorrow . . . that, too, seem-
ed blessedly far away . . .

That night Leila, who had
noted the prolonged absence of
the two, more, perhaps, than
any of the other guests, made it
a point to talk with Nance. She
told her of Cornwell's shack,
his mode of living. "You'd be
all out of that picture, Nance,"
the other girl said, "and Lordy.
how you'd hate it, after a while,
and then hate him ! I know,
tho, that you're not the sort to
throw your chances away for
the flaring of a flame."

"The flaring of a flame — the
flaring of a flame ..." Nance
repeated that to herself when
Leila had gone, and she was
left alone, looking out at the
stars. The same stars. Sweet
stars. Yes, it had been the
flaring of a flame, she supposed
— in a sense — such a flame as
she had never felt before. The
dismissed Captain had been but
the vague glimmer of this —
"the flaring of a flame" — ob-
viously, one could not give up
one's life for that ; London and
society and the people one
knew and the things one did,
house-parties and the season
and all that. It simply wasn't done. "A flame" . . . they
were always transient, flames. Why was it, then, they
were so bitterly strong, so bitterly sweet? For that it was
sweet, Nance did not for a moment deny — ah, sweet, be-
yond belief ; sweet transcending all experience, all dream-
ing. Sweet ... on that word she fell asleep.

In the morning Blair Cornwell called and asked her to
go with him to his cabin. "I want you to see, dearest
beloved," he said, in his tenderness that seemed to wrap
her about as with a blinding warmth ; "I want you to see
just what you'd be in for — a shack and — and me." They
rode, Nance on her beautiful black mount, and Blair wor-
shipped. her on the way.

They reached the shack and Nance drew in her breath,
sharply, appalled. It was rude ; it was desolate ; it was
primitive. She went within and she was still more ap-
palled. There was a huge fireplace, true, but the ceiling
was blackened, giving evidence that it smoked. She could
imagine her perfumed hair smelling of soot and her deli-
cate eyes reddened and watering. Her hands, her hands,
too „ . . women tended the fires, here in this land, grown
suddenly unlovely. And the chairs — hard, uncompromis-
ing. The pots and pans, evident, ugly . . . Over all
there seemed to Nance's luxury-accustomed eyes the bony
structure of poverty . . . She did not see it thru Blair's
eyes ; how that these things were, each one of them, the
labor of his own hands; the toil of hours; of days; of
weeks. What they represented to him, she could not know.

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"Oh !" she burst out ; "I could never live like this, in
this place ; never, never, never !"

She would not have been so hysterical if she had not
been so overwrought. She drew forth Willie's diamond
that she had removed upon her initial meeting with Blair
Cornwell and reinstated it upon her finger. When he came
over to her again, he saw it and he understood the sig-
nificance of the outward token, at least. But other than
that — underneath that . . .

"You do love me," he said, "you know you do . . .
last night ..."

Nance stared at him. She felt stupid, dazed. She felt
defiant.

"This," she cried out on him ; "I couldn't stand this — ■
the man who gave me the ring, to whom I am engaged —
he is Willie Chase — he has millions — millions — it is ex-
pected of me ..."

Blair Cornwell drew back. His face was curious.

"I see," he said, "of course. It was presumptuous —
folly on my part — but what a damned poor sort you are."

The next day Nance sailed for home — and Willie Chase.
She took as cargo a heart that ached with a dull and mad-
dening fury and a mouth stung to hunger for another's
mouth.

It wasn't until the accident at sea that she knew Blair
Cornwell to be on the boat with her. Then he came to her,
and when the ship foundered, fired and went down with, it
seemed, all on board lost, he and she were the only ones
saved; saved, that is, on a raft that gave them, promised
them, with good fortune, at least, three days of life.

"We are going to die," Nance kept saying.

Cornwell looked at her
strangely. "Before we die, my
beautiful Love," he said, "I
think — we are going to — live."

Nance said, "Yes."

She knew how she loved
him, now that neither life
nor death mattered very much
either way. She knew how she
wanted him, with the eternal
seas threatening at their very
feet and the ineffable sky draw-
ing nearer to them with each
hour.

And then, in one strange
hour . . . "We haven't a ring,
dear," the man said, "nor a
minister of God — but you are
mine and I am yours — forever
and ever — amen . . .

"Amen," whispered Nance,
against him . . . Why had
anything in the world ever
mattered . . . why ?

And a little later the man
lifted his beatified face and
said, "Death doesn't matter to
us who have touched with
naked lips the secret springs
of everlasting life."

"It doesn't matter," Nance
assented, "ah, it doesn't, my
Lover, my Love ..."

Three days passed over
them. And love was all, for
all else had fallen away in that
catastrophic hour on the ship.
Food and clothing, night and
day — all had dropped away —
and the man and the woman
were one on the fragile raft —

i the omnipresence of Eternity their all. It V

» t talk much. They felt no need. They had

m me into the other and all but that great es-

semicu iiau gone. So close they were, the one to the other,
both to the palpitant everlasting sea, and the waiting sky.
God seemed near, too. They felt no fear. They had no
room for fear who were tasting of perfect love.

On the third day, when the end (or the beginning?)
seemed very near, Blair sighted a steamer. At first they
were incredulous. Then, terribly, small things began to
break thru Nance's face on which the holy beneficence
of the sacrament she had lived had lately shone. Small
things struggled to mar that surfaces-customs — her world
— things people would say . . . She was going to live who
had foresworn life. She was going to live — and people
would know — this. She was going back to London — to
Willie Chase's London — to her mother's London, mauve
and purple — to her father's London — cowed customary.
She was going back to London, ruined — yes, in the vernacu- '
lar of that London — ruined. The ultimate terror, the last^
shame . . . She screamed. She pulled at Cornwell who
was watching her as one might watch the head of Medusa.
She shrieked,. "Dont let them see us — together. Dont you
see — dont you see — what it means — they'll know — they'll
know ..."

Cornwell shook his head. "No,"
he said, "no, they'd never know — -
your London — your kind ..."

Nance did not hear him, did
{Continued on page 122)

"Forgive me," she was
breathing ; "forgive me,
Lover, for everything
. . . forgive me, and then
I'll go . . ."

~H!

A new camera study
of Corliss Palmer,
winner of the 1920
Fame and Fortune
Contest

.Photograph
by Albin

A Star in th< awning

GLADYS HALL

AY down
South in the
land of cotton — Macon,
Georgia, to be exact — not so

long ago — five girls were having an afternoon fudge party
without much thought of anything beyond the last dance,
the dance to come, the "new boy" in town and what thus
and so had worn. The hostess of the fudge festivity
was Corliss Palmer and the five were occupying lazily
her chintz-hung room. They were very young. The fu-
ture was nebulous and enchanted. Their dreams brilliant,
but, as yet, unformulated. They were glancing over some
current magazines — illustrated ones.

One of the girls remarked, between bites of fudge,
"Motion Picture Magazine is running a contest — win-
ner gets a job and two years' publicity — ummmm !"

By such a small, inconsequential pebble may a career be
conceived !

The rain dripped without. The girls munched within.

Another girl said, "Let's send in our pictures to the
contest — just for fun!"

It was an idea !

Corliss said, nonchalantly, "We'd never hear of them.
Anyway, I haven't a picture fit to send. Being photo-
graphed hasn't been one of my pastimes."

"Oh, well," the originator of-.the idea persisted, "what
if we dont hear. Nothing ventured — let's rummage around
and scare up what photos we have and send them in f or
a lark."

It was agreed.

Corliss unearthed an inadequate affair, rather amateur-
ish. "This is waste of time," she thought, as she mailed it.

The next day, en route for school, the five admitted, one
to the other, that the photographs were on their way to
The Brewster Publications.

"Mine was terrible," said Corliss, "antiquated looking,
I thought. My mother hopes I never hear of it."

But her mpther's hopes and her own pessimism were
alike dashed. Corliss did hear from the Contest. She
was invited to come North as one of the potential winners.

"I had planned a trip to New York with my Auntie,
arty-way," Corliss said, with her unreproducible Southern
dialect, which makes her hesitant to speak up here, she
told me, so general is the mirth the soft unusual accents
seem to inspire; "and so mother let me come, 'but, Corliss,'
she told me before I left, 'just forget the contest.' But
I didn't. I came to Brooklyn when I arrived and went
before the Judges, Mr. Lumiere and Mr. Brewster and
Mr. Albin. I dont know how I ever did it. On the way
in I met a girl who had failed to get a high mark, and she
was crying and I wanted to turn right around and go
back, but she just grabbed me by the arm and said, 'you
turn around and go up there. T believe,' she said, 'you've
got the features and everything they want.' That gave
me courage and I went on in.

"The rest is too good to be true. I have to pinch myself
every now and then to be sure Pm not just down home,
amnin'. The Judges gave me the highest mark, and the
next thing I heard was that I was the winner. At first I
had a hard time persuadin' my mother to let me come back

up to stay. I just had
to tell her that 1 must go — it
was my big chance — and when she saw
how much it meant to me, how much in earnest
I was, she became reconciled to it and now she is as in-
terested and proud and pleased as 1 am. Then Mr.
Brewster engaged me to play the leading female role in
his own production of "Ramon the Sailmaker," and 1 am
to play in his next production, too. Before 1 began to
work with him, I was afraid and without much self -con-
fidence. I hadn't had an atom of experience, and it all
came so suddenly, but his faith in me and his method
of bringing out what is in me have given me the hope
and the faith I lacked. Now all my dreams and ambitions
are concentrated into the one desire to carve the career
those who have had faith in me believe me capable of."

"What type of work do you specially want to do?"
I asked.

"I want to touch the heart-strings," she said, "emotion-
ally. I want to have something of the same appeal that
Lillian Gish has in her Anna in 'Way Down East.' I want
to make people conscious of their sympathies, their poten-
tial sorrows, and I want to do it beautifully and tenderly."

"What about life," I asked, "before this — before the
contest and your winning of it — what did you expect of
life, from life?"

"Well, I didn't expect this," she said, with a character-
istic gleam of humor. "I suppose I just expected to get
married and have a home sometime — somewhere. But it
was very far off in the 'sometime,' because Pve never
been in love in my life, never have seen a man I could
love — and almost everything was dreams to me— every-
thing was Someday. But now Someday is Today and I
mean to make the most of it."

E'er repetition shall take the savor from the first tell-
ing and other interviews and other interviewers make more
than thrice-told tales of Miss Palmer as she is. I shall
anticipate them by the virgin resume of her amber-colored
hair, her brown amazing eyes, her skin, her gracious young
lines, the Southern softness of her speech, the candor of
her outlook, the simplicity of her tastes, which include
a love of all that is artistic and music and dancing. She
does not claim to be a connoisseur of literature, a devotee
of any school, modernistic or archaic. Tn fact and in truth,
when I touched the realm of letters, she very candidly in-
formed me that she only cared for love stories, "and frothy
ones at that," I persisted, and she said. "Oh, the magazine
kind, with the charming girl and the handsome hero and
moonlight and all that sort of thing." She further in-
formed me, with the amazing indulgence of the younger
generation for the generation gone before, that her mother
deplored her taste in things bibliographical ; "She said my
mind would grow weeds." she laughed, "if I didn't go in
for — well, for Socrates or Plato or something like that !"

She has no thought of marriage. The world, just now.
is a soap bubble. She walks on the Hills of Parnassus
amid fields of Arcady. She sees the heavens in terms of
Stardom and her outstretched hands are groping for the
heart-strines of the world . . . She is nineteen.

A£Li

, I

Photograph by Bradley, Kentucky (right)

N< )T with royalty, but with subjects far more inter-
esting — the King family, or the part of it consist-
ing of Mollie King, sister Nellie King and little
Kenneth Alexander, jr., Mollie's baby.
An appointment was made for me to interview Mollie
King at the Ansonia and the voice on the wire had said,
specifically, lunch. When I met the voice, meaning the Pub-
licity Lady at the information desk of the hotel, she was
asking, confidently, for Miss Mollie King.
"Nol in," said the clerk, nonchalantly.
"But," firmly, "she must be in — we have a luncheon en-

f\ gagement."

"Cant help it, she's not in — but there
she comes," he said. Down the corridor
a tiny little girl figure waved a welcom-
ing hand. She wore a brown charmeuse
frock, very smart and very short. San-
dals, ribbon laced about trim ankles, a
brown squirrel neckpiece, an absurd blue
velvet turban atop red-gold hair. It was
Mollie King.

"So sorry to keep you waiting — but
you know the baby — Nellie was to meet
us — probably she has gone up. Come."
Twelve flights up a down-going car
passed us. "Oh," Mollie cried— -"there's
Nellie going down." Back to the first
floor we went. "Where's my sister?"
demanded Mollie of the starter. "Going
up, Miss," he grinned.

To the fourteenth floor. Dizzily we
followed Mollie — the Publicity Lady
snatching a chance to whisper, "at last,
lunch !" "We have lived in the country
all summer," Mollie was explaining —

"but we keep
the hotel apart-
ment to have a
place to come in
town. Here's
Nellie."

"I feel like
the Mad Hat-
ter," said this
latest and ex-
ceedingly attrac-
(Coutinited on
page 101 )

Mollie King wishes to
keep on with her stage
and screen work, but her
husband would like her to
give it up and "sit on a
cushion and sew a fine
seam" . . . which Mrs.
Alexander will do, it is
hard to say. Left, a new
study of her, with Ken-
neth Alexander, jr., and
below, at the Kentucky
home with the father of
the house

Afi£

Photograph by Hoover Art Co.

TKe Ideal S

creen

Bab})

Little Barbara Maier, of Los Angeles, has been voted the Ideal
Screen Baby in a recent contest conducted by the Los Angeles
Express. Barbara was chosen from seven thousand children, all
of whom have appeared in pictures. She has been cast in "One
Man in a Million," with George Beban, and "Oh, Lady, Lady,"
with Bebe Daniels. Undoubtedly this little doll-like creature is a
movie star in the making

PA6\\

Across me SiWerskeet

TKe Recent Screen Plays in Review

Above, "The Passionate Pilgrim," an all-Star
production, which boasts many notable and
worthy players; center, Constance Talmadge in
"Dangerous Business," which is "Scandal" with
new trimmings, and below, Alice Joyce in
"Cousin Kate," which Mrs. Sidney Drew has
endowed with the everyday human note for
which she is so well known

6USIN KATE," which comes from the

Vitagraph studios with Alice Joyce in

the title role, owes its touch of vibrant

life to Mrs. Sidney Drew, to whom the

directorial responsibilities were entrusted. She has

given the production the everyday human note with

which she endowed her old Polly and Henry

stories. The sets look like real rooms where

honest-to-goodness people spend their days and the

play, which was a talky affair behind the footlights,

has a real atmosphere with Alice Joyce a natural

and sincere Cousin Kate, altho it must be admitted,

she has photographed to better advantage.

Amy Spencer is engaged to Heath Desmond, and
if there are two people in this world who shouldn't
marry they are Amy and Heath. About a week
before the wedding Amy tells Heath that she wont
marry him unless he promises to attend church

regularly, and in this
stand she is aided and
abetted by the :Rev.
James Bartlett. Finally,
Amy sends for Cousin
Kate who writes novels
in the distant city and is
gifted with the rare tact
of making . things right
generally. Only this.time
Cousin Kate arrives to
make things more com-
plicated than before,
when she and Heath fall
in love. Kate insists that
he give in to Amy's de-
mands and marry her.
but he stubbornly refuses
and it looks as tho there
could be no end to the
complications until the
Rev. James Bartlett and
Amy announce their en-
gagement, conveniently
making it possible for
Heath to marry Kate.

The production is as
wholesome as the pretty
country in which it is
laid. As for the subtitles,
they are a joy — not the
sort of titles so often
seen, stilted in a frantic endeavor to be poetic — rather the
sort of sentences Kate and Amy and Heath would speak.
"Cousin Kate" is not a great picture. It does not pretend
to be great. But it pretends to be real — it is real and, in-
cidentally, wholesome and refreshing.

DINTV — FIRST NATIONAL

"Dinty," the new Marshall Neilan production, stars the
famed freckles of Wesley Barry in a story which is a com-
bination of Edgar Allan Poe and Horatio Alger. Only had
Poe penned it he would have called it "The Swinging Pendu-
lum," while Alger could never have resisted "From Newsy
to Fame."

However, it is not bad for all that, and you feel a real
sympathy for the little Irish "Dinty" who sells newspapers

By
ADELE WHITELY FLETCHER

to support his invalid mother —
and after a while he becomes
head of the newsboys' trust and
then times are a little better.
When the fiancee of the Assistant
District Attorney is taken pris-
oner by the Chinks, with the price
of her freedom a cessation of her
father's crusade against those
Chinaman smuggling
opium and pearls into
the country, Dinty is
most instrumental in
her rescue.

Not for a second does
the action slow down.
There are wild chases, . .
hair-breadth escapes
and last minute rescues
and thru them all you
find yourself watching
for Dinty, whose human
touch brings laughter
and tears. Marjorie
Daw as the fiancee of
the District Attorney;
Pat O'Malley as the
District Attorney; and
J. Barney Sherry as the
father, are well-cast.
Colleen Moore does
excellent work as the
mother of Dinty, and
Noah Berry makes
Wong Tai, leader of
the Tong smugglers,
quite as dreadful a per-
son as could be desired.
To Wesley Barry, how-
ever, goes the major portion of the honors. He
fully justifies the confidence Marshall Neilan has
placed in him.

Certainly this is not an artistically dramatic pro-
duction and it will never take its place in the advance
of the screen drama — but it drips with the milk of
human kindness and because of this it affords some-
thing of a relief in an intensely cynical era.

IDOLS OF CLAY— PARAMOUNT

You cant have everything. Of that we were long
ago convinced — yet it sometimes seems a pity that
the artistic producer is unfortunate in his selection
of story material. Such is the case in "Idols of
Clay," the latest George Fitzmaurice production
which features Mae Murray and David Powell.

The story tells of Faith Merrill, a young girl on
one of those South Sea islands which have furnished
so many movie writers wim perfectly good plots.
Faith lives with her father, an old hypocrite who
poses as a sanctimonious soul. .One day Dion Holme,
a sculptor comes to the island, broken in spirit be-
cause one Lady Cray was unfaithful to him. He
remains long enough to cause Faith to love him when
his old master comes to take him back to civilization
(Continued on page 117)

Cooper

and
Comeqy

Jack Cooper says he was de-
termined not to take the earn-
ing of his livelihood seriously
. . . and he hasn't, unless
you believe that it's a serious
business being funny

OTION PICTUP

How to fight the «#e foes which
work to mar your skin

YOUR complexion is sur-
rounded by enemies —
There are wind and
cold that dry and dull the
unprotected skin. There is
that inward enemy that shines
the face. There is dust that
clogs the pores. There is time.

Each one of these wicked
little foes is striving morning,
noon and night to ruin your
good looks. Be always on
your guard against their wiles.

Exposure to wind, cold and
dust roughens and coarsens
your skin. Skin specialists say
that you can protect your com-
plexion from this injury by
applying a protective cream
before every outing.

For this a special cream is needed,
a cream which makes up for the
moisture that the cold will whip
out; yet a cream which disappears
instantly and will not reappear.

Pond's Vanishing Cream is made
precisely for this protective use. It
has not a bit of oil in it, so it cannot
make your face shine. Before you
go out, lightly touch your face and
hands with Pond's Vanishing Cream.

This will give your skin such per-
fect protection that itwill remain ap-
pealingly soft and smooth no matter
how much time you spend out of
doors.

You never can tell when that

To foil cold, wind and dust, keep your fkin pro-
tected with a cream without oil

treacherous enemy, an ugly glisten
will creep upon you unawares and
make you look your worst.

This cannot happen if you powder
in such a way that it will last. To
stay powdered the right powder
foundation is essential. For this as
for protection, you need a cream
without oil.

Before powdering, rub a tiny bit
of Pond's Vanishing Cream on your
face. Then notice how smoothly
the powder goes on, how natural it
looks. It will stay on indefinitely.
Until you wash your face it cannot
shine again.

Dust is a subtle enemy. When
your skin grows dull, loses its clear-
ness, it is simply an announcement
that the pores have become clogged
deep down with tiny particles of
dust.

To remove these you need an
entirely different cream .from the
greaseless cream you need for pro-
tection — a cream with a good oil base.

Pond's Cold Cream contains just
enough oil to work deep into the
pores and thoroughly cleanse them.

Free sample tubes
MAIL THIS COUPON

Before you go to bed and
after a train or motor trip,
rub Pond's Cold Cream into
the pores and wipe it off. You
will be shocked at yourself
when you see how much dirt
you were harboring. Your skin
will be so much clearer, so
much fairer, that you will be
amazed.

Time, too, seems to have a
grudge against us. It is busy
every minute etching little
lines around the eyes and
mouth. After these little lines
have once formed it is hard
indeed to erase them. But you
can keep them from forming
by giving your skin the right
kind of massage. For this as
for cleansing you need a
cream with oil. Pond's Cold Cream
is especially made just the consis-
tency to give a perfect massage.
Once or twice a week give your skin
a good massage with Pond's Cold
Cream. In this way you can keep
the wretched enemy, Time, at bay!

Neither of these creams fosters the
growth of hair or down on the face.

Stop at the drug store or any de-
partment store and buy a jar or a
tube of each cream. Every normal
skin needs both these creams. By
the intelligent use of these two
creams you can be freed of the fear
of the little foes that work to mar
the skin.

Tiny, deepening lines
can be kept at bay
with a good oil cream
massage

Pond's Extract Co., 116-S Hudson St., New York
Please send me, free, the items checked:

Sample of Pond's Vanishing Cream

Sample of Pond's Cold Cream
Instead of free samples, I desire the larger samples
checked below, for which I enclose the required amount:

A 5c sample of Pond's Vanishing Cream

A 5c sample of Pond's Cold Cream

Name . ;

Street

City State

PONDS

Cold Cream &
Vanishing Cream

One with an oil base and one without ~,:y oil

Before retiring remove the dust
that is lodged deep in the_ pores
with a cream with an oil base

PA&U

California Chatter

By
HAZEL SIMPSON NAYLOR

ONE factor in film progress which augurs well for the
future of the cinema is the gradual elimination of the
star that was made over night to gratify someone's
whim, and the sudden coming into his own of the genius
character actor.

Goldwyn seems to be leading the van in this respect. One of
the first companies to recognize the value of the author, Goldwyn
has been for some time getting away from the star system and
adopting the all-around featured cast, any of whose
players might be billed as stars by lesser com-
panies.

This does not mean that salaries are
being reduced. Quite the opposite.
I know one leading man who com-
mands a salary of $1,250 a week,
and this is about the minimum.
Truly, the Goldwyn Culver
City studio would at present
prove home to any cosmo-
polite. At one end of the
lot is an exact replica of
the Five Points section of
New York City as it look-
ed in 1869. I walked down
the cobble-stoned streets
the other day at dusk when
the players had quit work.
A dirty window curtain
flapped neglectedly in the
breeze, soiled clothes hung
on the roofs. It seemed in-
deed as if the ghosts of depart-
ed spirits haunted the place, so
realistic was it all. This street scene
is being used for Gertrude Ather-
ton's "Noblesse Oblige," a working title
which will be changed before release.
Next to this street is a Chinese one being used
for the filming of the Boxer uprising in Gouverneur
Morris' original story, "The Water Lily," and further still
is the reproduction of the Nevskii Prospekt, Russia's largest
thorofare. There is much speculation concerning the plans
for Helene Chadwick. Will Goldwyn break its rule and
star her? At present she is playing the lead in Rupert
Hughes' "Mr. and Miserable Jones."

Metro announces that upon May Allison's return from
Birmingham, Alabama, where she went to recuperate from
two broken ribs, she will begin work on what is expected
to be one of the greatest dramatic pictures of the New Year.
"Big Game" is the title and its locale is the 'primitive North-
west. This will be welcome news to the Allison fans who
remember her compelling dramatic power opposite Harold
Lockwood, prior to her recent series of society comedies. .

A couple of years ago Agnes Johnson was just a little girl
writing scenarios for Gladys Hulette, then a Pathe star.
Today she is a famous writer and has just signed a wonder-
ful contract to write for Viola Dana.

Speaking of Viola Dana reminds me of how dashingly
lovely she looked dancing at Sunset Inn the other night.
Alice. Lake, too. looked charming in a flame-colored gown
ornamented with crystal sequins — while she wore a close-
fitting turban of flame color, edged with ostrich. Dorothy
Wallace was very gorgeous in blue velvet and chinchilla.
Among the dancers were also Charles Ray and Larry Semon.

1 — r

■v. m

■s*<

THE beauty of your hair dei>ends upon
the care you give it.

Shampooing it properly is always the
most important thing. It is the shampoo-
ing which brings out the real life and lustre,
natural wave and color, and makes your
hair soft, fresh and luxuriant.

When your hair is dry, dull and heavy,
lifeless, stiff and gummy, and the strands
cling together, and it feels harsh and dis-
agreeable to the touch, it is because your
hair has not been shampooed properly.
When your hair has been shampooed pro-
perly, and is thoroughly clean, it will be
glossy, smooth and bright, delightfully
fresh-looking, soft and silky.

While your hair must have frequent and
regular washing to keep it beautiful, it
cannot stand the harsh effect of ordinary
soap: The free alkali, in ordinary soaps
soon dries the scalp, makes the hair brittle
and ruins it.

That is why discriminating
women use Mulsified Cocoanut
Oil Shampoo. This clear, pure
and entirely greaseless product
cannot possibly injure and it does
not dry the scalp, or make the
hair brittle, no matter how often
you use it.

If you want to see how really
beautiful you can make your
hair look, just

'^ vnmm0f

Use plenty of lather. Rub it in thoroughly and
briskly with the finger tips

How

to Shampoo
lour Hair
Properrj)

Why the Beautp of Tour Hair
Depends on the Care You Give It

(7/ustrated by ALONZO KIMBALL

flafiEiBEKp

Follov? This Simple Metkod

FIRST, wet the hair and scalp in clear,
warm water. Then apply a little Mul-
sified Cocoanut Oil Shampoo, rubbing it in
thoroughly all over the scalp and through-
out the entire length, down to the ends
of the hair.

Rub the Lather in Thoroughly

TWO or three tea-
spoonfuls will
make an abundance of
rich, creamy lather.
This should be rubbed
in thoroughly and
briskly with the finger
tips, so as to loosen
the dandruff and
small particles of
dust and dirt that
stick to the scalp.

When thoroughly
clean, wet hair fairly
squeaks when you
pull it through your
fingers ,

The final rinsing

should leave the hair

soft and silky in the

water

When you have done this, rinse the hair
and scalp thoroughly, using clear, fresh,
warm water. Then use another application
of Mulsified. You can easily tell when the
hair is perfectly clean, for it will be soft
and silky in the water, the strands will fall
apart easily, each separate hair floating alone
in the water and the entire mass, even while
wet, will feel loose, fluffy and light to the
touch and be so clean, it will fairly squeak
when you pull it through your fingers.

When, the hair is dry always give
it a good, thorough brushing

Rinse the Hair Thoroughly

THIS is very important.
After the final washing, the
hair and scalp should be rinsed
in at least two changes of good
warm water and followed with
a rinsing in cold water.

After a Mulsified shampoo

you will find the hair will dry quickly

and evenly and have the appearance of i

, being much thicker and heavier than it is.!

If you want always to be remembered for

your beautiful, well-kept hair, make it a

rule to set a certain day each week for a.

Mulsified Cocoanut Oil Shampoo. This

regular weekly shampooing will keep the

scalp soft and the hair

fine and silky, bright,

fresh looking and

fluffy, wavy and easy

to manage, and it will

be noticed and admired

by everyone.

You can get Musified
-Cocoanut Oil Shampoo
at any drug store or
toilet goods counter.
A 4-ounce bottle should
last for months.

Splendid for chil-
dren — fine for men.

WATKINS

PA6

\ I )'-"■

Above, Earle Will-
iams and a little
neighbor, and
right, Antonio
Moreno finds that
some animals are
quite as stubborn
as they are re-
puted to be

Leatrice ' >y 's wearing a beautiful diamond engagement ring, but she says she
will never iian until she reaches stardom.

I met Ann , orrest out at the Lasky studio the other day. She had her blonde
hair brushed back tight and an apron was pinned about her waist. She had been
caught cleaning house in her dressing-room. Blushing, she said, "I look ready
to pose for a picture of stars as they are at home." Gloria Swanson, who was
also present and as gorgeous as ever, protested, "Not as / am at home !"

"No, indeed," quoth a reporter standing near-by, "Gloria wears Nile-green
chiffon tea-gowns and all that sort of thing."

Monte Blue is again singing around the Lasky studio, and says he is perfectly
satisfied to stay in Hollywood for the rest of his life.

H. M. Milcrest, a film actor, was trampled to death by his horse while on location
in Arizona with the Marshall Neilan Company. He was only twenty-eight years
old and leaves a bride of only a few weeks. '

Our friend Herbert Rawlinson is once more in the West. He has been East
for a long time, but not so long that the head waiter at the Athletic Club had for-
gotten him. At present he is playing the lead in Anita Stewart's new picture at
the Mayer studio, but it is said that plans for again starring him are under way.

William S. Hart tells me that he still intends to retire at the completion of his
present contract. However, I still hope he will change his mind. Meantime he is
busy writing. His latest book is written specially for boys and is called "Injun

and Whitey."

Arthur Kane, who is one of the backers of the

Charles Ray Company, and Mrs. Kane have

■ \ been visiting in Hollywood.

\ Lois Weber celebrated the formal opening

fr- h |^ of her tennis court at her new studio on

Santa Monica Boulevard recently by a
tennis exhibition, dancing on the produc-
tion stage and an unheralded preview
of the latest product of Miss Weber's
pen, a six part production for Famous
Players-Lasky, entitled "Painting the
Lily."

Los Angeles is all excited over the
rumored marriage of pretty Carmel
Myers to Isadore B. Kornblum. The
film star is the daughter of Rabbi Isadore
Myers, who refers all inquirers to his
daughter. Miss Myers stated that she is
"too wrapped up in her work to consider
matrimony." Friends, however, insist the couple
were secretly married.
I saw little Billie Rhodes and her new husband,
Bill Joberman, a journalist, dining at the Maryland Hotel,
Pasadena, the other night. Little Billie, you know, is the widow
of "Smiling" Bill Parsons, who had such splendid plans in pro-
gress for her as a dramatic star at the time of his death. She
is a sweet, pretty, little girl and looked particularly dainty and
frail in a black velvet frock and a huge squirrel coat.

Blanche Sweet has returned from several months in Europe
where she pretty well traversed the trodden paths. She is look-
ing well, likes Paris better than London, and Los Angeles better
than either. She is a great admirer of Tolstoi and other Russian
writers and wanted to get a peek at Russia, but the mean old
Bolsheviki wouldn't let her.

The latest news of the Pickford family is that Jack will direct
Mary in her new picture. Co-directing and helping the young
man a bit at»the knotty spots will be Al Green, formerly Jack's
director. The story is one written by Mary herself and is the
type of picture which first made her famous, viz. : she will play
a raggedy little heroine. Following this story, Miss Pickford
will start work on the interior scenes of "Little Lord Fauntleroy,"

before going abroad to make the ex-
teriors of the same picture.

Larry Semon has returned to work
at the Vitagraph studio, he and that con-
cern having apparently patched up their
difficulties. His new leading lady is
Maryon Aye, a very beautiful young
woman, formerly in Sunshine Comedies.
Colleen Moore is nothing if not origi-
(Continued on page 97)

Jeane Paige Smith, who
married the president of
the Vitagraph Company
on December 14 at her
home in Illinois. She is
not deserting the screen

Photograph by

C. Heighton Monroe, L. A.

w^ss ^

Two great makers of wool garments
tell how woolens should be laundered

The name of Carter stands for the first quality in baby under-
wear. No matter where you live, when you shop for "our
baby, the store offers you a Carter shirt or band. Read why
this company, one of the oldest and largest in the country,
advises you to wash your baby's woolens with Lux.

The finest quality outer knit goods for in-
fants and children have been made by Simon
Ascher dC Co. for nearly 50 years. Bootees,
sacques, sweater-suits, sweaters, all "100 per
cent Pure Wool," are found in good stores
in all states. Read the way these experts
in woolens recommend laundering knitted

things.

Keep the detailed directions below which
tell you just exactly how to wash woolens.
You will find that you will want to
refer to them all the time. Lever Bros. Co.,
Cambridge, Mass.

To keep woolens soft and unshrunken

Whisk one tablespoonful of Lux into thick lather in half
a bowlful of very hot water. Add cold water until luke-
warm. Dip garment up and down, pressing suds repeatedly
through soiled spots. T>o not rub. Rinse in three 'uke-
warm waters. Squeeze water out — do not taring. Press
with warm iron — never a hot one.

Colored woolens. Try to set colors as follows : Use
yi cup of vinegar to a gallon of water and soak for two hours.

Woolens should be dried in an even temperature ;
that of the ordinary room is the best. Heat increases
shrinkage.

Flannels may be dried flat and stretched to shape,
or, when absolutely dry, pressed. Place a damp cheesecloth
over material. Use a warm iron.

Shirts and stockings should be dried on wooden forms.

Knitted garments should never be wrung or twisted.
Squeeze water out, and pull and pat garment into shape.
Never hang. Spread carefully on a towel to dry.

Won't injure anything that
pure water alone won't harm

The makers of Carter's
Knit Underwear

tell how
to wash woolens

"Sometimes we receive com-
plaints," says the Carter Com-
pany, "that our woolens have
Shrunk. This, of course, is a
mechanical process and due to
the wrong way of washing.

"We wish every young
mother would wash her baby s

Shirts ana bands in the safe way
Set forth in the Lux advertising.

"We have had Lux analyzed
ind know there is nothing in it
Which could injure the delicate
Wool fibre. A soap with tree
alkali or an ordinary harsh soap
will make wool shrink.

"Lux is also excellent for
woolens because its thin _ flakes
dissolve so completely that no
solid soap can stick to the wool
and yellow it.

"We are glad to endorse Lux;
its use on our garments means

greater satisfaction to our cus-
tomers, and thus to ourselves.

THE WILLIAM CARTER
COMPANY

The makers of Ascher's

Knit Goods

tell safest way

to wash knitted things

"Infants and children soil their
clothes so quickly," says Simon
Ascher 6C Company, "that we
give special attention to the
way our garments are laundered.

"Woolens will not shrink or
stiffen if they are washed the
proper way. When you find a
knitted garment with the surface
matted up, it usually means that
a harsh soap has been used or
that the garment has been rubbed.

"Lux is ideal for woolens be-
cause it meets both conditions.
It is so pure that it cannot injure
the sensitive wool fibre. Its thick
lather does away with the rub-
bing of the garment even between
the hands. This means that the
delicate softness and beauty of
the wool is preserved.
■ "We are very glad that the Lux
• I'vertising is teaching women
t ■■.- safe way to launder woolens."

SIMON ASCHER &c
COMPANY

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f Greenroom Jottings |

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Cupid never "goes on a strike or runs out of his deadly darts.
As we go to press we learn that Constance Talmadge and Dorothy
Gish have kept their girlhood pact and had a double wedding. It
happened at Greenwich, Conn., on December 26, a justice of the
peace officiating. Constance is now Mrs. John Pialoglou, and
Dorothy Mrs. James Rennie. James Rennie has played opposite
Dorothy in a number of her pictures, among them "Flying Pat,"
and at present he is appearing in "Spanish Love" on the New York
stage'. Mr. Pialoglou is a tobacco importer.

In "The Fascinating Widow" Julian Eltinge will be directed by
Harry Beaumont. They say that widows are free to marry again,
but not to believe all. over again. However, they can always be
fascinating.

Anita Stewart's
Rawlinson. It is
easy to imagine the
vivid Anita in a
tornado, but rather
a strain on the fac-
ulties to picture a
typical Englishman
in anything so dis-
orderly as a storm
of any kind.

Corliss Palmer,
adjudged the most
beautiful woman
in America, takes
the leading female
role in "Ramon,
the Sail maker."
This is the picture
in which Miss Pal-
mer makes her
screen debut and
proves herself an
actress of ability.

Goldwyn is pro-
ducing "Rip Van
Winkle," in which
Will Rogers plays
the title role. No
one but- an acro-
batic artist like
Will could make
the jump from
"Boys Will Be
Boys" to "Rip Van
Winkle."

leading man in "The Tornado" is Herbert

Alice Lake finds that a director, however youthful,
Ruggle's absence, a youthful co-worker takes

Buck Jones, who plays the stellar role in "Just Pals," proves his
versatility in an emotional role entirely new to him, that of a char-
acter described as "a golden-hearted ne'er-do-well."

Louise Glaum, who, rumor has declared, was to launch her own
producing company, has signed a new contract to star in J. Parker
Read, Jr., productions for several years. Her current production
is "Love."

Violet Mersereau and Edmund Cobb star in "Finders are Keep-
ers," a new release of the Pioneer Film Corporation. This is
expected to be a greater success than any picture in which either
star has ever appeared before.

Mae Marsh is the delightful star of "The Little 'Fraid'Lady."
The return of this artiste to the screen receives the applause of a

large following. In
this play the mural
decorations on the
walls are really
painted by }\liss
Marsh, who is as
capable with the
brush and palette
as she is in acting.

"Worlds Apart"
is the new Selz-
nick picture, star-
ring Eugene
O'Brien. Adding
to the interest of
the picture is the
fact that fifty well-
known horsemen
and horsewomen
of Virginia will
appear as extras in
fox-hunting
scenes.

"Velvet Fingers,"
a -picture of high-
class burglary,
stars George B.
Seitz and Margue-
rite Courtot. Pic-
tures of evil doers
are popular, be-
cause if there were
no sinners, there
could be no re-
demption.

is something to be reckoned with. In Wesley
the directorial chair . . . and megaphone

Gloria Swanson's
next stellar ve-
hicle will be "A Sheltered Daughter," a story from the pen of
Elinor Glyn, especially written for Miss Swanson.

Allene Ray, a winner in the 1920 Fame and Fortune Contest,
has signed a contract to play the leading role in a series of six
pictures from the Tex O'Reilly stories. The first of the series,
"Honeymoon Ranch," has already been made.

Jimmie Harrison, of the Christie comedies, who has played
leads with many famous stars, is now taking the leading male role
in one of Constance Talmadge's new pictures.

t "Wanted — A Girl," the second special comedy released by
Legend Film Productions, Inc., featuring Edna Shipman and
John Junior, will follow close upon the heels of the first, which
was "A Million — More or Less."

Shirley Mason is working on her new picture, "Chin Toy,"
which is the third written for her by Pearl Doles Bell. This title
may be changed before release by Fox.

Harold Lloyd's picture, "Number, Please?" has been heralded
with delight, and is proving more popular even than "Bumping
(\ I mo Broadway."

■Afifl

"The Empire of
Diamonds" is said
to be a most thrilling and original series of detective romances.
The scenes are laid in three of the world's leading capitals, and
the master-photography of the picture enhances the dramatic
moments of the story.'

Dr. Leonard J. Vandenbergh, missionary and explorer, who
headed the Vandenbergh-Paramount expedition into Central
Africa, brought back the first motion pictures ever taken of the
African Congo.

"Thoughtless Women" is breaking the record for the year in
bookings. It 'is a feature production, starring Alma Rubens.
Perhaps this picture will help men to get rid of their delusions.
We want men without delusfons. but none need apply, for there
are none — yet.,

Blanche Sweet, in "Her Unwilling Husband," is a charming
character in an attractive part, in which she surpasses her former
work.

Katherine MacDonald has been enjoying a six weeks' vacation
in New York, following the completion of her eighth produc-
tion, "Conscience." It seems that everyone who has an overdose
of conscience has to take a vacation now and then.

(17-jytOTlON pICTURI

Buescher is the oldest
maker of Saxophones
and makes more of
these instruments than
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The greatest of all Professionals throughout the musical world use,
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in the recognition by the most noted Master Musicians of True-Tone
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JOHN GUREWICH

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CHARLES FRY

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CLAY SMITH

Trombone Soloist, Smith -

Sprliii; - Holmes Oivlics

tral Quintet

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It tells you what each Saxophone is best adapted for, when to use singly, in quartettes, sextettes, octettes,
or in regular band or full Saxophone Band. Tells how to transpose for cello parts in orchestra, and familiarizes
you with many facts you would like to know, whether you are a beginner, amateur or professional. It illus-
trates and describes the virtues of each model of the Saxophone Family from Bb and Eb Soprano Saxophone to
Contra Bass. Ask for your copy.

Buescher- Grand Cornet

With all its wonderful volume the Buescher-Grand
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jumps of thirds, fifths or octaves can be taken without the
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Greenroom Jottings

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E. O. Hoppe, the noted English artist-photographer, who is an
expert judge of feminine beauty, came to America several months
ago and announced his intention of selecting the five finest ex-
amples of American beauty and comparing them with those he
had chosen in England. Mr. Hoppe declares that up to the pres-
ent he has been unable to do this, because he finds so many
diverse types of beauty of different nationalities, whereas in Eng-
land there was only the Anglo-Saxon type to be considered.

The Christie Studios in Hollywood celebrated "Golden Wed-
ding Day," for the ninth anniversary of the first motion picture
studio in that territory, started by Christie in 1911. More than a
hundred couples who have been married fifty years or more at-
tended, and prizes were awarded.

Lady Diana. Manners, daughter of the Duke and Duchess of
Rutland, was se-
lected by Mr.
Hoppe as Eng-
land's most beauti-
ful woman. She
has been celebrated
for years as Eng-
land's most ex-
quisite type of fem-
inine loveliness,
and has inspired
more artists, sculp-
tors and photog-
raphers than any
other woman in
the world, it is
said. Lady Diana
Manners has sign-
ed a contract with
J. Stuart Blackton
in London to ap-
pear in a series of
pictures.

Viola Dana's
next starring pro-
duction will be
"Home Stuff," an
original story by
Agnes Johnston
and Frank Dazey.
Viola should be
dazzling in domes-
tic roles.

Mr. and Mrs.
Philander Beatty
were married six
years before Grant
fought his biggest

battles. They say the first fifty years of wedded life are the hard-
est, and they are used to each other now. These sentiments will
cheer a lot of newlyweds, who have only a silver wedding to
their credit.

Hou
as

juse." Virginia Fox appears opposite the agile comedian, and,
usual, Joe Roberts is the "vilyun."

George Fitzmaurice, Paramount director, recently sailed for
London, where he is making a picture for Famous Players-Lasky,
British Producers, Ltd. Here he joined his wife, Ouida Bergere,
who has written and adapted many of his pictures.

The United States Army has a school to teach soldiers all
branches of moving picture production and presentation. It has
been established in Fort Point, San Francisco, Cal.

Owen Moore's new Selznick picture, "The Chicken in the
Case," has been released and is now being shown.

Mutt and Jeff are highly amusing in their new animated pic-
ture, "Cleopatra,"
in which they enter
a mummy case and
are transported . to
ancient Egypt.

"The Brute
Master" is a dra-
matic picturization
of man's animal-
ism. Hobart Bos-
worth takes the
stellar role. Some-
times an honest
brute is a pleasant
change from a flat-
terer, who may
love you some, but
loves himself
more.

William Fox is
featured in a five-
reel Fox produc-
tion of the Wild
West type, "The
Iron Rider." It is
• not so good as
many of Mr. Rus-
sell's previous pro-
ductions.

"Her Husband's
Friend" is Enid
Bennett's new star-
ring vehicle.

Little Johnny Jones entertains Cornelius Vanderbilt, Jr., at the Goldwyn Studios between the

scenes of his new Edgar story

Elaine Hammer-
stein radiates in a
beautiful charac-
terization of wifehood, as the star of "The Daughter Pays." It
was said many years ago that it was good for some men to be
alone, but that was before there were any Elaine Hammersteins
in the world.

Agnes Johnston, whose work for the screen has made her name
universally familiar to picture-goers, has signed a contract to
write a series of stories for Metro.

"Broadway and Home," Eugene O'Brien's new Selznick picture,
shows scenes taken in the heart of the Bohemian quarter of New
York, and on the high seas, with wind and rain and rolling waves
buffeting him about on the ship of fate.

Metro has leased the premises of one of the commodious city
armories of New York as a studio, in order to have a place where
large and expensive motion picture settings may be protected,
from the elements.

Elinor Fair takes the leading role opposite Eugene O'Brien in
Ins new picture. Warren Cook, Ellen Cassity and Frank Losee
are included in the cast.

(T\ Buster Keaton has completed his first comedy, "The Haunted
'P84
lAfiS

"The Devil to Pay" is one of the best mystery stories shown on
the screen for some time,

Fred Burton takes the leading role in "Heliotrope," wherein he
has the distinction of being a crook addicted to heliotrope per-
fume. We are changeable creatures, liking variety and, therefore,
we like "Heliotrope."

Edith Stockton plays the second female lead in "Out of the
( 'bonis," and now considers going to the California studios. Well,
everybody's still doing it.

Dainty Charlotte Dawn plays the leading female role in "The
Punch of the Irish." Even the studio crew were thrilled during
the filming of the scenes where Billie Ritchie tries to evade seven
hungry' roaring lions.

Fannie Ward is starred in "She Played and Paid," an intense
melodrama, produced from Henri Bernstein's play, "La Rafale."

cmaissn

Oar L

HISTORY REPEALS ITSELF!

The Fame and Fortune Contest of 1921

The phenomenal success of the Fame and Fortune Contest which has been conducted for the past year by
The Motion Picture Magazine, The Classic and Shadowland has firmly decided the heads of the
Brewster Publications that another contest, even more far-reaching in its power, should be carried on for
the year 1921.

The Golden Key of Opportunity Is in Your Hands —
Turn the Key in the Doorway of Success

and thru the portal of the Fame and Fortune Contest you may enter the kingdom of the screen.

Send Your Photograph in at Once

The honor roll winners appear in Shadowland, Classic and Motion Picture Magazine every month
until the end of the contest.

Men, women and children are eligible, married or single.

Send in Your Photograph Early

We know that you get tired of reading this notice, but if you could have seen the avalanche. of pictures
which flooded the offices at the last moment, and could realize that there must ensue tremendous confusion,
unnecessary work and an inevitable delay in the announcement of the final winners, you would appre-
ciate the value of this warning. Those who have failed in previous contests are eligible to enter the next
contest.

Take notice of the following conditions of the contest :

No photographs will be returned.

Coupons must be pasted on the backs of photographs.

Letters are not desired, but if they are sent they must accompany photographs.

Those wishing replies should enclose self-addressed stamped envelopes.

Do not send tinted portraits. • -"

Address all communications to Contest Manager.

Fill Out the Coupon Below at Once r

FAME AND FORTUNE CONTEST

LIONEL STRONGFORT

Dr. Sargent, of Harvard, declared that "Strongfort

Is unquestionably the finest specimen of

physical development ever seen."

Remember, by writing to me, you in no
way obligate yourself to accept my in-
structions, while on the other hand, I will
give you solid, fearless advice that will be
many times worth the few minutes it took
you to write me. Without another mo-
ment's hesitation cross the free consul-
tation coupon herewith opposite what you
consider to be your main ailment, sign
and mail with your name and address
written plainly thereon. You will hear
from me at once, and you will hear some-
thing well worth while.

GET THIS BOOK-IT'S FREE

If you will send me a ioc piece (one dime) to cover mailing
expenses, I will forward free my book, "PROMOTION AND
CONSERVATION OF HEALTH, STRENGTH AND MEN=
TAL ENERGY." You should not be without it. It contains
many truthful facts and helpful hints.

LIONEL STRONGFORT

Physical and Health Specialist.

Dept. 258

NEWARK, N.J.

Mr. Lionel Strongfort, Newark, N. J. — Please send me your
book, "PROMOTION AND CONSERVATION OF HEALTH
STRENGTH AND MENTAL ENERGY." for postage of which
I enclose a 10c piece (one dime). I have marked (X) before

the subject in which I am interested.

..Colds
. . Catarrh
..Asthma
..Hay Fever
..Obesity
. . Headache
. .Thinness
..Rupture
. .Lumbago
. . Neuritis
. . Neuralgia
. . Flat Chest
. . Deformity
(describe)

..Easy Childbirth
. .Pimples
..Blackheads
. .Insomnia
..Short Wind
..Flat Feet
. .Stomach

Disorders
, .Constipation
. .Bllliousness
..Torpid Liver
. .Indigestion
..Nervousness

..Increased Height -Poor Memory
..Successful ..Rheumatism

Marriage

M.P.M. 258

.Vital Depletion

, I m potency

.Falling Hair

.Weak Eyes

. Female Disorders

. Gastritis

. Heart Weakness

.Poor Circulation

.Skin Disorders

. Despondency

.Round Shoulders

.Lung Troubles

.Increased Height

.Stoop Shoulders

.Muscular Development

.Youthful Errors ..Great Strength

Age Occupation.

Street

City .State..

a ^m

C5£e 5&jnspi>er' 'Jfflotfi

uncertainties. "East Lynne" is to be filmed by Hugo
Ballin with Mabel Ballin in the lead opposite Edward
Earle.

Muriel K. — Yes, lam one of the celebrated authors
of the day. Among other classics I am responsible for
"The Lost Gumdrop, or the Candy Woman's Revenge,"
"A Hand to Hand Encounter with a Flea." "What to
do if Stuffed Olive Bites You," "Guyed for Fans," and
other tragedies not yet written. None of these master-
pieces have been published yet. Try Los Angeles.

D. H. S. — No need making apologies about your
paper, even if your father did buy it.- No, it is not true
that Pearl White wears a wig. How could she lose
her hair in a "fire without losing her head? You say
Anita Stewart and Ethel Clayton are your favorites.
No accounting for tastes. Well, if you like this depart-
ment, tell others; if you dont like it, tell me. •

Margaret S. — I dont know just how many appoint-
ments the President has to make, but I know he has to
make many disappointments. Lew Cody has his own
company now with Elinor Fair and Cleo Ridgely. Their
first picture is "A Dangerous Pastime." Yes, I am
eighty but*I dont expect the undertaker to overtake me
just yet.

Amuzo. — You just write to me whenever you feel
like it. I cant tell' you whether Hope Hampton ever
lived in Trenton, N. J. Yes, she is a beautiful girl, and
I have enjoyed the pleasure of meeting her several times.
She doesn't look to me as if she ever lived in Trenton.

Floy Merry. — But ambition often puts men upon do-
ing the meanest offices, which accounts for the fact that
climbing is performed in the same posture as creeping.
I am as full of ambition as I ever will be. There's
about 1000 feet to- a one-reel picture. "Iris in" means
beginning with a closed lens and gradually opening it
with a circular iris, giving the effect of small round
picture which grows gradually larger in circumference.

Mayor's Steno. — It is a miserable thing to live in
suspense} it's the life of a spider. Yes, I miss not
being able to comb my hair. Feel as tho I had forgotten
something when I'm leaving mornings. Saves lots of
time, however. Wanda Hawley is playing in "Her
First Elopement." You bet I remember when Maurice
Costello was the big noise in the hero line.

Lonesome Seventeen. — Your letter was great. Write
me some more.

Victor S. — Well, every man desires to live long ; but
no man would be old. I have lived eighty years but am
not old yet. Thanks for the picture. Good of you.
Also thanks for the kind things you say about our
magazines.

Tidbits the First. — No, Tidbits, I'm not a woman.
I dont see how you could pay me such a compliment,
because- 1 am neither dainty nor delicate, neither gentle
nor soft. I am a hardened sinner with red corpuscles
and a carmine liver. Well, in love, it is only the com-
mencement that charms. I am not surprised that one
finds pleasure in frequently recommencing. Lucy Cotton
and Sylvia Breamer in "The Devil." Yes, Irene Castle
is back in pictures. Peggy Hyland is playing in "The
Price of Silence." Do write me again.

Galikel. — Well, I liked "Midsummer Madness" pretty
much. • Lois Wilson is all right, and Conrad Nagel was
very good,' and the whcjle thing was beautifully done
and contained some wonderful' settings. Yes, an inter-
view with Olive Thomas in March 1920 Classic. Aha,
1 see !

Florence Vidor Booster. — Go to it ! Write her
again. Owen Moore has just finished "The Chicken in
the Case." Absurd title.

Jack H., New Zealand. — You refer to Mohammed
the Great, who cut off bis beloved mistress's head, on a
stage erected for that purpose, to convince his soldiers
who taxed him for preferring her love to his glory.
Yes, Martha Mansfield and Conway Tearle in a series
for Selznick. No, they dont really dress like that here
in our West. You want to know if our Arizona
cowboys wear a two- feet six-inch hat. Not many
of them, 1 guess— except in pictures.

\\ita G. — No, I aril not a society man. The
conversation of women in society resembles the

straw used in packing china ; it is nothing, yet, without
it, everything would be broken. I go to a dance once in
a while. Glad you liked Seena Owen and Jack Holt
in "Victory."

Anglo. — Of course I believe in marriage, but love in
marriage would be the realization of a beautiful dream
if marriage were not too often the end of it. Yes,
Tom Moore and Eugene O'Brien. H. E. Herbert and
Florence La Badie had the leads in "A Man Without a
Country." Please write me again.

Lilias St. Clair.— Oh yes, you will like the Scroll
Club. They have a very interesting paper.

Laura J. W. — Why, the last I heard of Beverly
Bayne and Francis Bushman they were playing at Egan's
Little Theater, Los Angeles, Cal., in "Marry the Poor
Girl." But I believe they are soon to appear in pictures
again. »"The Tiger's Cub" was taken from the book by
George Goodchild.

Black Eyes. — Of course, I will be glad to take the
place of your daddy. Commodore J. Stuart Blackton
is producing pictures in London with Lady Diana Man-
ners as leading woman. Hobart Bosworth is playing
in "A Thousand to One." William Russell and Mary
Thurman in "Brute McGuire." You're very welcome.

Billie. — Billie, the reason why so few marriages are
happy is because young ladies . spend their time in
making nets, and not in making cages. Pauline Fred-
erick is the only name I know she ever had be-
sides her marriage names. Send a stamped addressed
envelope.

Phantom-Peking. — Well, Woodrow Wilson has
been editor, author, lawyer, professor of history,
political science and political economy, president of
Princeton University, Governor of New Jersey, mem-
ber of the Peace Conference, and was the first president
of the United States to cross the Atlantic, yet he was
defeated by the biggest majority ever. You also refer
to Grace Cunard who played in "Lucille Love."

Mystified. — Cooper-Hewitt is the name of the lights
used in taking motion pictures. But life has surprises
at every age. Corinne Griffith is playing in "It Isn't
Being Done this Season." There's lots of people who
are tho. Enjoyed yours very much.

Grace. — You're all to the mustard, Grace. No, his
wife is not a professional. Better get that idea out of
your head because a coquette is to a man what a toy is
to a child ; as long as it pleases him, he keeps it ; when
it ceases to please him, he discards it.

Zuffold Knutt. — Your letter was a humdinger and I
enjoyed every word of it. I would really like to shake
paws with you. I agree with you that the Hippodrome,
Mecca, etc., are like olives — acquired tastes.

H. A. L. — Idleness is the door to all vices, and that's
why I'm always busy. So you say you didn't care for
Wallace Reid in "Sick-a-Bed." Well, I cant say that I
cared for it either, nor for "Forty-Five Minutes from
Broadway." . Ray has done much better work than that.
Clever jingle in yours, and I hope you write me again.

Y. A. K— Yes, I think so too.

Ruth Mc. — Yes, I am 80 in years, but not in feeling
and looks. Old men and comets have been reverenced
for the same reason ; their long beards and pretences
are useful to foretell events. Eugene O'Brien's "Re-
gret" has been changed to "World's Apart." Some re-
grets do make you feel that way. I'd make a nice daddy
for somebody. Write me again, Ruthie.

Bonnie. — Well, in 1918 the Commissioner of Indian
Affairs announced that there were 328,111 Indians in
the United States. This number did not include the
Indians in States in which the Indian office had no re-
presentative. In those States there were about 8,000
Indians. I understand that Ethel Barrymore is going
to make a series of pictures for Lasky.

A Peppy Quaker Maid. — Didn't know there were
any. Oh I see. You are not in favor of my knocking
Philadelphia. Well, Philadelphia cant help it because
it's a slow town, and others cant help observing that it #
is! You also say that diplomacy should be my motto.
Thanks. Why didn't you sign your name?

Fka'nk McC. — You can reach Betty Compson
Goldwyn, Culver City, Cal.

ION PCTUBP

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Letters to the Editor

Letters to the editor cannot be used in
this department unless the name and
address of the writer is given. If the
•■writer desires that initials only be used,
nue shall be glad to take care of this, if
it is so specified.

One of the fair sex of "The Flow-
ery Kingdom" sends her regards to
stars and magazines, and tells the
readers who the favorites are with
the fans of Japan.

Dear Editor — I am an ardent reader of
The Motion Picture Magazine and
Classic, and I take great interest in your
department, having read it for two years.

All fans seem to have certain stars
whom they either praise or criticize, with-
out regard for the stars' feelings. I have
many favorites, but the star I select for
praise is Pearl White. Truly, she is an
actress the movie world may be proud of.
I dont see how anyone could see her in
such plays as "The Lightning Raider" and
"The House of Hate" and then not have a
feeling of admiration and sympathy for
her. I, for one, hope she will make more
serials, and that Marie Walcamp, Ruth
Roland and Elmo Lincoln will do the
same, for all are well liked here.

In Tokyo, our capital city, the following
pictures are being shown: "The Whirl-
wind," "The Mystery of 13," "The Bushi-
er. " "The False Faces," "The Tiger Band,"
"Her Kingdom of Dreams," "The. Grim
Game," "The A. B. C. of Love," "For Bet-
ter, for Worse," "The Gray Horizon" and
many others.

I wish every future success to the movie
stars, one and all, and also to the pub-
lishers of The Motion Picture Magazine
and Classic.

Sincerely,
Miss Yae Kameyama,
Shinagawaya, 81, Konyacko,
Shiznoka, Japan.

Where is the director who can give
everyone just what he wants? Some
people want melodrama, some society
drama, some comedy drama and
others prefer plain comedy or farce.
Nevertheless, wise directors listen to
the demands and go as far as they
can toward filling them.

Dear Sir — With prices of all our invest-
ments going down every day, and collec-
tions not so good as they used to he, there
is a general feeling of despondency per-
meating the atmosphere. Why, in the
name of High Heaven, doesn't the mov-
ing picture show give us a little joy once
in a while, a funny picture now and then,
instead of these painful, sad love epochs
that we find in all the movies from Four-
teenth Street to Albany?

In an unguarded moment, one Sunday
evening; I attended a very prominent
movie on Thirty-fourth Street. They were
advertising a double-feature bill, and this
is what I got :

One picture showing some sort of artist
marrying a chorus girl. This chorus girl
had been befriended by Mr. Goldberg.
The other picture was a popular matinee
hero sort of fellow, who turned out to be
a society doctor, and the dame ran after
him. He went to the Dakka Islands to dis-
cover some wonderful medicine, and this
girl rushed there, too, swimming part of
the way.

CeM

|OTlON pICTUR

MAGAZINE

I am giving this outline of the two pic-
tures as I cant recall the name of the ac-
tors ; bur it was the saddest and gloomiest
junk [ ever saw. and it has almost cured
me of the movie habit.

I am writing this to give you some idea
of the nain that envelopes one when these
terrible love heroes, who look so sad and
gloomy and soulful — whatever that it-
come mooning onto the screen. What on
earth is it that makes these matinee idols
look so bad ? After a few sittings at one
of these love-and-soul affairs, 1 am fre-
quently ill for several days.

Mr, Editor, please tell these moving pic-
ture directors to give us something funny
or William S. Hart-ish.

Yours very truly,

Wynne Ferguson,
Union League Club, New York City.

There is such a large number of
bright, shining stars that it is not pos-
sible to give each one of them all the
space they deserve, and their apparent
neglect is usually unavoidable. How-
ever . . .

Dear Editor — I have been a reader and
admirer ot your magazine for years, and
enjoy it very much, always reading it from
cover to cover, and really do not know
which department 1 like best.

All these years that I have been reading
your magazine 1 have never found cause
to complain or "kick," but now I am cer-
tainly going to kick, and kick hard.

You know, we all have our favorites,
and like to read about them. Some of us
are fickle and jump around from one star
to another, but as long as I have been a
movie fan I have had one favorite, namely,
Miss Ethel Clayton.

Now, what I am kicking about it this:
Why is it that I do not see more about
this charming young lady in your maga-
zine? Perhaps you will say, "She is so
well known that she doesn't need publicity.
Well, that may be true, but who can pick
up one of your magazines without seeing
it full. of Mary Pickford, Norma and Con-
stance Talmadge, Alice Brady, Pauline
Frederick, Wallace Reid, Douglas Fair-
banks and others, who are not one bit
more talented or more popular than Miss
Clayton?

Every month, when your magazine
comes. I look thru it before I read it,
thinking I will find something about my
favorite, but always I am disappointed.

I ask you again, why is it? Is it because
she is not always figuring in divorce
courts? Surely this should be to her
credit.

So, in conclusion, let me say that if your
magazine isn't large enough for them all,
let some of the others rest a while and let
us have more of Miss Clayton.

Wishing you the best of luck for the
coming year, I am,

Very sincerely,

Miss Teresa Brock,
623 Mildred St., Montgomery, Ala.

There are comedies and comedies.
Those that are good are the best form
of entertainment and those that are
bad are the worst, according to this
reader.

Dear Editor — I am a constant reader
of your Motion Picture Magazine, and
I should be glad to correspond with other
readers, especially Mary Pickford and
Douglas Fairbanks admirers.

In your June Magazine I noticed a let-
ter concerning country movies. The town
where I live is somewhat similar in its
"movie palace," the library, councilors'

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That film causes most tooth troubles.
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Few people escape the trouble caused
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Now leading dentists everywhere ad-
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The methods are embodied in a den-
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Pepsodent brings other effects to ac-
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MOTION pICTURf

II I MAGAZINE L

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meeting rooms and band room being all
in the same building. The seats are pretty
hard, but we have good pictures, so that
makes up for the chairs.

I think the Mack Sennett Comedies are
silly, so silly in fact that I can not laugh
at them. I am jolly glad Mary Thurman
and Marie Prevost are trying drama, for
it was a shame for such pretty girls to be
in Mack Sennett's.

And there are the Billy West Comedies,
another idiot so funny you can not laugh
at him. Why cant he get a rig of his own
instead of mimicking Charles Chaplin?

Everybody like Charles Chaplin. His
picture, "Sunnyside," is being shown at the
Liberty Theater next week.

Here's to less vulgar and better Mack
Sennetts, and always a welcome to the
Christies. Hoping to have the pleasure of
corresponding with other readers, I re-
main, Yours sincerely,

Connie Bamford,
Grafton St., Sumner,
Christchurch, New Zealand.

London is not always foggy. Un-
doubtedly there is scenery there worth
showing on the screen. Pictures with
English settings showing both exteri-
ors and interiors of homes, clubs and
places of historic interest are so sel-
dom seen that one does get the idea
that a director thinks he is faithfully
depicting London when he shows a
fog and a bridge.

Dear .ditor — It is quite a few months
since I wrote you last — some time in 1918,
when I was "fed up" and "far from
home." Now, that I am settled again, I
have just begun to think how long it is
since I really did write to you.

At a movie in England, I happened to
be in the rear of an aged lady. We were
watching the fill., entitled "Vengeance and
the Womau," wi.u Carol Holloway and
William Duncan taking the leading roles,
when the woman became so excited she
shouted out, "Look! There is a bear be-
hind you !" Everyone in the theater turned
to see the bear before they realized that
she was referring to the one in the pic-
ture.

Another couple were talking about the
following week's program, and I hap-
pened to hear the woman say, "Dustin
Farnum is here next week. Are you com-
ing to see it?" "Oh," said the man, "I
dont like 'agricultural farming'." I think
Dustin ought to take his hat off to that
couple.

There was a picture here not long ago
entitled "Suds." How is it that producers
always have the same setting to represent
London? A fog, a big lamp, a bridge
about twelve feet high, and lastly a cop
resting against the lamp? That is Lon-
don. The producers must have been in
London only on a foggy day, and that is
all they know about the city. In fact, I
wouldn't be surprised if they had never
seen the place. Kinda hard on London, I
think. The lamp, too, is more like a piece
of cardboard, and is far too large for the
post that is supporting it. Dont you think
people would rather see scenery than a
fog?

Another film, "The Yanks in Berlin,"
was exhibited and advertised as "Jack
Canuck in Berlin." Of course, people went
to see it, hoping to see the Canadian troops,
but they didn't see even one Canadian in
the picture. They have not arrived there
yet, according to the film. Then, where
are they?

LAG£

I wish every success to your magazine.
Sincerely yours,

Alfred W. Bowker,
20 McGill St., Toronto, Canada.

An optimist is usually liked, espe-
cially when his optimism is based on
something real. The only knock this
optimistic reader makes is directed
toward the knockers in general.

Dear Editor — I take pleasure in writing
for the first time to you. I have been a
constant reader of the magazines and I
never wish to read better periodicals.

I read with much interest the "Letters
to the Editor" column, and notice the vary-
ing fancies of the many picture followers.
Why do some folks persist in abusing the
poor old movies ? I constantly notice harsh,
and sometimes unnecessary criticism of
majiy photoplays of more than usual
merit.

Surely, these critics remember the day
not long ago when everyone raved over
old Edison, Bison and Lubin films. Com-
pare these films to the productions of to-
day, and note the miraculous strides.

We, on this side of. the world, are not
hard in our criticisms, as we think of the
time, worry and hard work lavished on a
production. We feel indebted in no small
way to DeMille, Tourneur and Griffith.

Just recently I saw Rex Beach's "Girl
from Outside," and enjoyed the production
thoroly, the direction and photography be-
ing of the best.

Clara Horton was sweet and likable as
the girl, and Cullen Landis, to my mind,
was admirably well cast. His acting was
convincing thruout the entire picture, and
he deserves a higher place in filmdom.

I enjoy very much Wallie Reid, George
Walsh, Thomas Meighan, Harrison Ford
and William Russell.

I should be pleased to hear from any
reader interested in the photoplay.

I also hope the day is not far distant
when even the most caustic critic can not
find a complaint to make against the dear
old movies.

Thanking you for your kind indulgence
in reading my letter, and wishing good luck
to the magazines, I am

Yours most sincerely,

Tom King.
40 King William St., Kent Town, Adelaide,
South Australia.

It is not possible to publish all the
letters sent to the editor each month,
but the names and addresses of all
who write asking for correspondents
will appear in the space below if the
letter is not published.

Agnes H. Ismail,

41 Wong Nei Ching Rd., Hong Kong,
China.
Hatsutato Ishiwatari,

c./o. Mitsukoshi, Ltd., Nihombashiku,
Tokyo, Japan.
Lisa Lesage,

166 Route d'Esch, Hollerich, Luxem-
bourg, Europe.
Muriel Hawkins,

Sherburne, N. Y. Box 75.
Anita McPhail,

312 Jones Street, Pyrmont, Sydney.
Hazel M. Hart,

Box 208. Vale, Oregon.
Marion Oppenheim and Dolly Schneider,

242 E. 94th Street, New York City.
Velma Tamme,

111 E. Main Street, Genesco, 111.
Myra Comstock,

Sherburne, New York. Box 329.

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VrriON pICTURF

I MAGAZINE X

Priscilla Dean

Beautiful Universal Star

is noted for her wonderful hair.
"My secret is my ffipwrfQ3 Hair
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The Screen Time-TabL

For the benefit of our readers, and by
way of a screen review and critique, every
month we will give, in this department, a
composite opinion of our editorial staff
which may be read at a glance.

Underneath our own list, we will print
a similar time-table compiled by our read-
ers. Let every reader critic send in a
post-card, from time to time, containing
an abbreviated criticism of one or more
plays. We will print the composite results
here, but only when there are five or more
critiques on the same play so that, in all
fairness, a general 'opinion will be pre-
sented. Address the Time-table Editor,
175 Duffield Street, Brooklyn, N. Y.

D Drama

C Comedy

F Farce

E Educational

SD , Society Drama

WD Western Drama

MD Melodrama

CD Comedy Drama

SP Spectacular Production

Superfine 12

Medium 6

Very Poor 1

Editorial Staff
Critique

A. Fool and His Money — MD-6.

Eugene O'Brien-^Selznick.
Alarm Clock Andy — CD-8.

Charles Ray — Paramount.
Always Audacious — C-9.

Wallace Reid — Paramount.
Bandbox, The — D-6.

Doris Kenyon — De Luxe.
Beggar Prince, The — D-6.

Sessue Hayakawa — Robertson-Cole.
Behold My Wife — D-8.

Mabel' Juliene Scott — Paramount.
Beloved Cheater, The — D-6.

Lew Cody — Robertson-Cole.
Below the Surface — MD-6.

Hobart Bosworth — Paramount.
Bill Henry— D-8.

Charles Ray — Paramount.
Blackmail — D-7.

Viola Dana — Metro.
Blind Husbands — D-10.

Erich Von Stroheim Prod. — Universal.
Branded Woman, The — MD-6.

Norma Talmadge — First National.
Branding Iron, The — D-10.

Barbara Castleton — Goldwyn.
Brat, The— MD-8.

Nazimova — Metro.
Broken Blossoms — D-12.

Gish and Barthelmess — Griffith.
Broken Butterfly, The — D-6.

Tourneur Production — All Star.
Burnt Wings — D-7.

Frank Mayo — Universal.
Charm School, The — CD-9.

Wallace Reid — Paramount.
Cinema Murder, The — MD-7.

Marion Davies — Cosmopolitan.
Civilian Clothes — CD-7.

Thomas Meighan — Paramount.
Copperhead — D-8.

Lionel Barrymore — Paramount.
Conrad in Quest of His Youth — D-8.

Thomas Meighan — Paramount.

Cost, The — D-8.

. Violet Heming — Paramount.

Courage of Marge O'Doone, The — MD-9.

Pauline Starke — Vitagraph.
Curtain — D-7.

Katherine MacDonald — First National.
Dancin' Fool — CD-8.

Wallace Rekl — Paramount.
Dangerous Business. — CD-9.

Constance Talmadge — First National.
Dangerous Days — MD-8.

Mary Roberts Rinehart — Goldwyn.
Darling Mine — C-8.

Olive Thomas — Selznick.
Daughter of Two Worlds — D-5.

Norma Talmadge — First National.
Dawn — D-7.

Sylvia Breamer — Pathe.
Deadlier Sex— MD-5.

Blanche Sweet — Pathe.
Devil's Passkey, The — MD-10.

Von Stroheim Prod. — Universal.
Devil's Garden, The — D-7.

Lionel Barrymore — 1st National.
Dinty — Wesley Barry — MD-8.

Marshall Neilan Production — 1st Nat'l.
Dont Ever Marry — C-5.

Marjorie Daw — First National.
Double Speed — CD-8.

Wallace Reid — Paramount.
Dr. Jekyll and Mr. Hyde — MD-10.

John Barrymore — Paramount.
Eastern Westerner — F-9.

Harold Lloyd— Pathe.

E ARTHBOUND — D -9.

Basil King — Goldwyn.
Everywoman — Allegorical-6.

All Star — Paramount.
Excuse My Dust — C-7.

Wallace Reid — Paramount.
Fair and Warmer — F-9.

May Allison — Metro.
Faith — CD-6.

Peggy Hyland — Fox.
Fear Market, The — MD-7.

Alice Brady — Realart.
Fighting Chance, The— D-10.

Conrad Nagel — Paramount.
Flying Pat. — CD-7.

Dorothy Gish — Paramount.
Flapper, The — C-7.

Olive Thomas — Selznick.
Food for Scandal.- — CD-7.

Wanda Hawley — Realart.
Forbidden Woman, The — D-8.

Clara K. Young — Equity.
For the Soul of Rafael — D-8.

Clara K. Young— Equity.
45 Minutes from Broadway — CD-7.

Charles Ray — First National
Furnace, The — SD-7.

Agnes Ayres — Paramount.
Gay Old Dog, The— D-ll.

John Cumberland — Pathe.
Girl in Room 29 — CD-7.

Frank Mayo — Universal.
Go and Get It — CD-9.

Pat O'Malley— First National.
Going Some — CD-6.

All-Star — Goldwyn.
Good References — CD-7.

Constance Talmadge — First National.
Great Accident, The- — D-6.

Tom Moore — Goldwyn.
Great Adventure, The — D-6.

Tom Moore — Goldwyn.
Half an Hour — MD-7.

Dorothy Dalton — Paramount.
Hairpins — CD-8.

Enid Bennett — Paramount.
Haunted Spooks— F-8.

Harold Lloyd— Pathe.
Heart of a Child — MD-8.

Nazimova — Metro.

« C S!£ UR

Make the Pennies Bigger

When James Buchanan was President and tall beaver
hats were in vogue; when gentlemen wore broad cravats
and ladies wore hoop skirts, the pennies they tossed to
children were as big as quarters. But the cart-wheel cop-
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were not as big in buying power as the pennies of today.

A penny then might buy a pastry,
or ten of them take one to the Fair, but
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couldn't have gone to a movie at any
price.

Your great-gran'ther may have
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would not have bought him a flivver.

Sixty years ago the ladies could go
shopping for dry goods and buy silks
that would make you green with envy,
linens that were linens and broad-
cloths that beggar description. But
what their favorite store did not have
they usually got along without.

Times have changed, and so have
merchandise and business methods.
One of the influences that has helped
to bring about so much of change, that
has helped to multiply opportunities
and increased the spending size of our
pennies is advertising.

Every merchant, every manufac-
turer knows that advertising materi-
ally reduces- selling costs by increasing
the demand for and the distribution of
the products of hundreds of thousands
of factories. Indeed many of the
things we count today as necessities or
luxuries could not be made and sold
at their reasonable prices except as ad-
vertising has created a broad market
for them, making millions of sales at
little prices and little profits.

And so you owe very much to ad-
vertising. You owe much to the peo-
ple of yesterday who have read and
been influenced by past advertising
and so have made possible the econ-
omies and varieties and wide distribu-
tion of merchandise that you enjoy.

You owe present advertising a
thorough reading. A greater famil-
iarity with advertising, with adver-
tisers and advertised merchandise
makes continually for the increasing
size of your pennies.

95 •

PA&U

■MOTION PICTURf
v\ I MAGAZINE •-

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THIS GIRL IS A WONDER

Do you want more money than you ever possessed?
If so, learn to make nut and fruit bonbons — the busi-
ness will net you $90.00 to $300.00 per montb. You can
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ISABELLE INEZ

383 Morewood Bldg. Pittsburgh, Pa.

Save Your Body

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So writes an enthusiastic, grateful customer. "Worth more than a farm,'
says another. In like manner testify over 100,000 people who have worn it

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Overcomes WEAKNESS and ORGANIC AILMENTS of MEN and

WOMEN. Develops erect, graceful figure. Brings restful relief,
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HOWARD C. RASH, President Natural Body Brace Co.
117 Basil Building:, Salina, Kansas

Tke Lacty of tke Big Wkite
House

(Continued from page 29)

spiritualist, and their mother used to
frighten them by telling them that if they
didn't come home early from school, Aunt
Mary Bender would be waiting for them
behind the piano. This was, of course,
when she and her sisters were children.

"But even now, when I'm a little late, I
expect to see Aunt Mary Bender jumping
up at me."

One's first impression of Katherine Mac-
Donald is liable to be that she is cold. But
after talking with her for a little while,
one realizes that she is rather impulsive and
imaginative. For instance, (still speaking
of her childhood.)

"I used to tell the most extraordinary
lies and the funny thing about it was that
I believed them myself. On the piano there
was a picture of a little boy ; I've forgotten
who he really was, but I claimed him before
everybody as my little brother who had
died. After a while I really believed in
that little brother I never had, and made
other people believe in him ; death and all."
She has, I think, a keen sense of the dra-
matic and the spectacular. But then, too,
she has her share of common sense and
poise.

She has studied herself, as all- women
should study themselves, until she knows
exactly what she can wear, and she designs
all of her own clothes. Hers is a queenly,
regal, type of beauty ; she never wears any-
thing bizarre or extreme. Just as the white
colonial house serves to express something
of her personality, so the conservativeness
in dress most appeals to her.

"I've worn the same make of sailor hat
for the last six years," she said. "The only
difference being that where it used to cost
five dollars it now costs twenty.

"I do not believe that anything at all
extreme is good taste," she went on, "I think
that this rule applies to one's actions as
well as to the clothes one wears. After all,
it is the little individualistic touches that
count; the things that mark a gown as
subtly rather than blaringly, unusual. The
best dressed women wear practically the
same things year after year, with only
slight changes to mark the changing
modes.

"I've heard people say of a bizarre gown,
'Well, that's all right for the stage.' Why
is it all right for the stage? Why should
one portraying a society woman have a
right to wear a gown that no woman of
good taste would wear under any circum-
stances? That is the trouble with so many
society dramas ; the women dress like man-
nequins intended to attract attention to the
window of a store.

"Did you know that there are certain
shops in Paris that do nothing but design
things for the American trade? There
are ; a friend who lived over there for
several years told me about them. You see,
many of the American buyers will not ac-
cept a thing as Parisian unless it is ridicu-
lously impossible as a garment. So, these
shops design 'Parisian models' that only
Americans would wear."

(We had left the set and were walking
slowly across the open air stage to her
dressing-room. It was almost dark. Mr.
and Mrs. Bosley had left some time before,
as had also the various members of the
company.)

Her dressing-room was warm and cozy.
A tiny nook in the center of which stood
her dressing-table, opened into a long, nar-
row, comfortably furnished sitting-room,
with a large, roomy clothes-closet beyond.

Looped, cretonne curtains in pastel shades
separated the three apartments.

Mary MacLaren was the first of three
sisters on the screen.

"I did not start until Mary became quite
successful. I was living in New York and
came out here to visit Mother and my sis-
ters. I loved it, of course, so I decided to
follow Mary's example and stay."

Her first part was with Jack Pickford in
"The Spirit of '17." Followed leading parts
for Douglas Fairbanks and "Bill" Hart,
also, "The Squaw Man," and "The Woman
Thou Gavest Me." It was in "The Woman
Thou Gavest Me" that, according to many
critics, she first showed evidence of dra-
matic artistry. Her rise has been very
rapid. Some of her starring vehicles that
come most readily to mind are, "The Thun-
derbolt," "The Beauty Market," "Passion's
Playground," "Curtain," "The Notorious
Miss Lisle," "The Second Latchkey," and,
a picture by Harry S. Sheldon which, when
I saw her, bore the temporary title of
"Conscience."

She was born in Pittsburgh, Penn., and
educated at Blairsville College. She is un-
married.

California Cnatter

(Continued from page 80)

nal, for while we others diet, she eats. She
told me the other day that the doctor had
ordered her to eat all the sweets she could :
cream puffs, hot chocolate, fudge. "I'm
going to have another order of chocolate,
wont you?" she pleaded. . . and we were
at the Alexandria !

The most recent celebrity to seek fame
in the shadows is Rosabelle Laemmle, nine-
teen-year-old daughter of Carl Laemmle,
president of Universal. Mr. Laemmle says
he has just the story for his daughter's
debut if she persists in her desire to work
for a living, tho goodness knows it isn't
necessary.

Grace Darmond, the beautiful, has just
signed a contract with Christie. Negotia-
tions are under way to secure the motion
picture rights to "Irene" and "Up in
Mabel's Room" for Miss Darmond's use.
This is rather reversing the usual precedent
of comedy queens turning to drama, for
Miss Darmond has always been a dramatic
star and now turns to comedy.

"The Millionaire Kid," a modern version
of "The Prince and the Pauper," which was
written by J. G. Hawks for Mary Pickford,
but which was released by her, owing to a
change in plans, has been purchased by
Universal as a starring vehicle for Gladys
Walton and is now being produced by
Harry B. Harris. Miss Walton's two lead-
ing men are Antrim Short and Howard
Austin. Mr. Short is playing with his wrist
in a plaster cast, having recently broken it.

Mabel Normand is expected to arrive
here any day now to resume her picture
work. She has been in poor health, but
after treatment in New York is ready to
get down to the grindstone of starring once
more.

One of the Fox Sunshine Comedy girls,
Alta Allen, won the heart of her director,
Hampton del Ruth, and they were married
Thanksgiving day. Our only surprise is
that it didn't happen sooner — knowing Al-
ta' s charms.

Louis J. Gasnier, who made such a success
of Otis Skinner's "Kismet," has begun di-
recting a new picture entitled "Good Wom-
en." Rosemary Theby has the leading role.
Betty Compson tells me she always se-
lects her casts with a view to total harmony
during production, and she maintains this

(Continued on page 111)

*NATiqi|lL BISCUIT
COMPANY

EA6

(pM32&es"E

The S

creen

Time-TabL

Heartstrings — D-7.

William Farnum — Fox.
Heliotrope — MD-12.

All Star — Paramount.
High and Dizzy — C-9.

Harold Lloyd— Pathe.
His Majesty the American — CD-7

Douglas Fairbanks — United Artists.
Honest Hutch — CD-10.

Will Rogers — Goldwyn.
Humoresque — D-ll.

Alma Rubens — Cosmopolitan.
Idol Dancer, The — D-7.

Richard Barthelmess — Griffith Prod.
If I Were King— D-8.

William Farnum — Fox.
Inferior Sex, The — CD-8.

Mildred Harris — First National.
In Old Kentucky — MD-7.

Anita Stewart — First National.
In Search of a Sinner — C-8.

Constance Talmadge — First National.
It's a Great Life — CD-8.

' All-Star — Goldwyn.
Jailbird, The — CD-5.

MacLean and May- — Paramount.
Jack-Knife Man, The — D-ll.

King Vidor Production — First National.
Jubilo — C-9.
' Will Rogers — Goldwyn.
Kismet — D-8.

Otis Skinner — Robertson-Cole.
Lady Rose's Daughter — D-5.

Elsie Ferguson — Paramount.
Last of the Mohicans — D-9.

Maurice Tourneur — Associated Prod.
Let's Be Fashionable — C-7.

MacLean and May — Paramount.
Little Miss Rebellion — C-5.

Dorothy Gish — Paramount.
Love Flower, The — D-7.

Carol Dempster — Griffith Production.
Loves of Letty, The — D-6.

Pauline Frederick — Goldwyn.
Madam Peacock — MD-6.

Nazimova — Metro.
Madam X.-MD-7.

Pauline Frederick — Goldwyn.
Male and Female — D-10.

Swanson and Meighan — DeMille Prod.
Man Who Lost Himself, The— D-8.

William Faversham — Select.
Mary Ellen Comes to Town — CMD-7.

Dorothy Gish — Paramount.
Master Mind — D-9.

Lionel Barrymore — First National.
Midsummer Madness — D-9.

All Star — Paramount.
Miracle Man, The — D-ll.

Compson and Meighan — Tucker Prod.
Misfit Wife, The — D-7.

Alice Lake — Metro.
Miss Hobbs — C-6.

Wanda Hawley — Realart.
Mollycoddle, The — C-10.

Douglas Fairbanks — United Artists.
Nomads of the North — D-7.

Betty Blythe — Goldwyn.
Notorious Miss Lisle — D-7.

Katherine MacDonald — First National.
Nurse Marjorie — CD-7.

Mary Miles Minter — Realart.
Old-Fashioned Boy, An — F-5.

Charles Ray — Paramount.
One Hour Before Dawn — D-5.

H. B. Warner— Pathe.
On With The Dance— D-ll.

Mae Murray — Paramount.
Over The Hill— MD-10.

Mary Carr — Fox.
Pagan Lovf. — D-7.

Mabel Ballin — Hugo Ballin Production.
P vssers-By — D-7.
(F\ Herbert Rawlinson — Blackton Prod.

f?98

J.A6C

)

{Continued from page 94)

Passion's Playground— MD-7.

Wesley Barry — First National.
Passion — Tragedy Drama — 11.

Pola Negri — First National.
Passionate Pilgrim, The — D-7.

Cosmopolitan Prod.
Peaceful Valley — D-ll.

Charles Ray — First National.
Perfect Woman, The — C-6.

Constance Talmadge — First National.
Penalty, The — MD-6.

Lon Chanev — Goldwyn.
Pinto— C-8.

Mabel Normand — Goldwyn.
Polly ann a — CD-11.

Mary Pickford — United Artists.
Prince Chap, The — D-10.

Thomas Meighan^-Paramount.
Remodeling A Husband — C-8.

Dorothy Gish — Paramount.
Restless Sex, The — D-5.

Marion Davies — Cosmopolitan.
Right to Love, The — D-8.

Mae Murray and David Powell — Param.
Right of Way, The— D-10.

Bert Lytell— Metro.
Romance — D-9.

Doris Keane— United Artists.
Scarlet Days — MD-9.

Barthelmess & Seymour — Griffith Prod.
Sea Wolf, The — D-9.

Noah Beery — Paramount.
Seeing It Through — CD-7.

Zasu Pitts— Robertson-Cole.
Sex— SP, MD-6.

Louise Glaum — Hodkinson.
Shark, The— MD-7.

George Walsh — Fox.
Shore Acres — MD-8.

Alice Lake — Metro.
Silver Horde, The — MD-9.

Myrtle Stedman — Goldwyn.
Simple Souls — CD-7.

Blanche Sweet — Pathe.
Sins of St. Anthony", The — CD-6.

Bryant Washburn — Paramount.
Sins of Rozanne — MD-8.

Ethel Clayton— Paramount.
So Long Letty- — F-7.

All Star — Robertson-Cole.
Something to Think About — D-10.

Gloria Swanson and Elliott Dexter —

Cecil de Mille Production.
Song of the Soul — D-8.

Vivian Martin — Goldwyn.
Stolen Kiss, The — CD-8.

Constance Binney — Paramount.
Stop Thief — C-7.

Tom Moore — Goldwyn.
Stronger Than Death — SP., MD-8.

Nazimova — Metro.
Sweet Lavender — D-10.

Mary Miles Minter — Realart.
Suds— CD-9.

Mary Pickford — United Artists.
Texan, The— MD-7.

Tom Mix— Fox.
Third Generation, The — C-10.

Betty Blythe — Goldwyn.
The Testing Block — MD-10.

William S. Hart Prod.
39 East— CD-8.

Constance Binney — Realart.
Tiger's Cub— MD-8.

Pearl White— Fox.
Toby's Bow— CD-10.

Tom Moore — Goldwyn.
Toll Gate, The— MD-9.

William S. Hart — Paramount.
To Please One Woman —

Claire Windsor — Lois Weber Prod.
Treasure Island — MD-9.

Shirley Mason — Tourneur Production.

Thru Eyes of Men — D-8.

Frank Mayo — Taylor Production.
Twin Beds — F-6.

Mr. and Mrs. Carter De Haven — First

National.
Victory — D-8.

All Star — Paramount.
Village Sleuth, The — C-5.

Charles Ray — Paramount.
Virgin of Stamboul — SP., MD-8.

Priscilla Dean— Universal.
Virtuous Vamp, The — CD-9.

Constance Talmadge — First National.
Way Down East — D-12.

Gish and Barthelmess — Griffith Prod.
What Women Love — CD-5.

Annette Kellermann — First National.
What's Your Hurry — CD-8.

Wallace Reid — Paramount.
Why Change Your Wife? — D-ll.

Swanson and Meighan — De Mille Prod.
Willow Tree, The — D-9.

Viola Dana — Metro.
Woman Gives, The — MD-6.

Norma Talmadge — First National.
Woman in Room 13, The — MD-8.

Pauline Frederick — Goldwyn.
Woman Game, The — SD-7.

Elaine Hammerstein — Select.
Woman and the Puppet, The — MD-6.

Geraldine Farrar — Goldwyn.
Woman Who Understood, The — D-7.

Bessie Barriscale — Robertson-Cole.
World and His Wife — D-9.

Alma Rubens — Paramount.
Yellow Typhoon — MD-7.

Anita Stewart — First National.
Yes or No— CD-7.

Norma Talmadge — First National.

Readers' Critique

Blackmail — MD-10.

Viola Dana — Metro.
Blackbirds — D-7.

Justine Johnson — Realart.
Cup of Fury, The — D-10.

Helene Chadwick — Goldwyn.
Dark Mirror, The — D-5.

Dorothy Dalton — Paramount.
Daughter Pay-s, The — D-8.

Elaine Hammerstein — Selznick.
Devil's Garden, The — D-7.

Lionel Barrymore — First National.
Devil's Passke\% The — MD-10.

Von Stroheim Production — Universal.
Double Speed — CD-9.

Wallace Reid — Paramount.
Dr. Jeky'll and Mr. Hyde — MD-11.

John Barrymore — Paramount.
Everybody's Sweetheart — D-7.

Olive Thomas — Selznick.
Excuse my Dust — CD-9.

Wallace Reid — Paramount.
Forbidden Woman, The — D-10.

Clara Kimball Young — Equity.
45 Minutes from Broadway — CD-8.

Charles Raj' — First National.
Heliotrope — D-12.

All-Star — Paramount.
Humoresque — D-12.

Alma Rubens — Cosmopolitan.
Idol Dancer, The — D-5.

Richard Barthelmess — Griffith Prod.
Invisible Bond, The — SD-6.

Irene Castle — Paramount.
Jubilo — C-9.

Will Rogers — Goldwyn.
Ladder of Lies — D-7.

Ethel Clayton — Paramount.
Lady Rose's Daughter — SD-5.

Elsie Ferguson — Paramount.

{Continued on page 106)

CeM^IM

A List of Manufacturers, Distributors and

MOTION PICTURES

OS O]

Prepared for the convenience of the Readers of Motion Picture Magazine

Advanced Motion Picture Corp., 1493 Broad-
way.

Alpha Pictures, Inc., 126 West 46th St.

Arrow Film Corp., 220 West 42nd St.

Astra Film Corp, 1 Congress St., Jersey City,
N. J. (Studio).

Authors' Film Co., Times Building.

Beach, Rex, Pictures Co., 16 East 42nd St.
Beck Productions, 135 West 44th St.
Beecroft, Chester, 501 Fifth Ave.
Biograph Studio, 807 East 175th St.
Blackton, J. Stuart, 25 West 45th St.

Studio, 423 Classon Ave., Brooklyn.
Bray Studios, 23 East 26th St.
Bulls Eye Film Corp., 729 Seventh Ave.
Burlingham, Frederick, Travel Pictures, 729

Seventh Ave.

Callaghan, Andrew J., 23 West 43rd St.
Community Motion Picture Bureau, 46 West

24th St.
Consolidated Film Corp., 80 Fifth Ave.
Cosmofoto Film Corp., 220 West 42nd St.
Crest Pictures Corp., Times Building.

Edison, Thomas A., Inc., 2826 Decatur Ave.

(Studio).
Educational Films Co., 729 Seventh Ave.
Exclusive Pictures, 126 West 46th St.
Export & Import Film Co., 729 Seventh Ave.

Famous Players-Lasky Co., 485 Fifth Ave.
Famous Players, 128 West 56th St. (Studio).
Film Market, Inc., 403 Times Building.
First National Exhibitors' Circuit, Inc., 6

West 48th St.
Foursquare Pictures, 729 Seventh Ave.
Fox Film Co., 126 West 46th St., executive

offices, 10th Ave. and 55th St.
Frohman Amusement Corp., Times Building.

Garson, Harry, Productions, Aeolian Bldg.
Gaumont Co., College Point, L. I.
General Enterprises, Inc., 1476 Broadway.
Goldwyn Pictures Corp., 509 Fifth Ave.
Graphic Film Corp., 729 Seventh Ave.
Griffith, D. W., Films, Eongacre Building.

Hatch, J. Frank, Enterprises, 729 Seventh

Ave.-
Hodkinson, W. W., Corp., 527 Fifth Ave.

Ivan Film Productions, 126 West 46th St.

Jans, Herman, 729 Seventh Ave.
Jester Comedy Co., 220 West 42nd St.

Kalem Co., 1482 Broadway.
Keeney, Frank A., 1493 Broadway.
Kleine, George, 729 Seventh Ave.

Leonce, Perret, Productions, 220 West 42nd
Street.

Macauley Photoplays, 516 Fifth Ave.
Mayflower, 1465 Broadway.
Metro Pictures, 1476 Broadway.
Moss, B. S., 1441 Broadway.

Outing, Chester, Pictures, 120 West 41st St.

Pathe Exchange, 25 West 45th St.
Physical Culture Photoplays, Inc., 113 West

40th St.
Piedmont Pictures Corp., 45 Laight St.
Pioneer Feature Film Corp., 126 West 46th

Street.
Post Film Co., 527 Fifth Ave.
Prizma, Inc., 71 West 23rd St.

Raver, Harry, 1402 Broadway.
Realart Pictures, 469 Fifth Ave.
Republic Films, 130 West 46th St.
Robertson-Cole Co., 1600 Broadway.
Rolfe, B. A., Productions, 18 East 41st St.

S. L. Pictures, Longacre Building.

Schomer Photoplay Producing Co., 130 West

46th St.
Select Pictures Corp., 729 Seventh Ave.
Selznick Pictures Corp., 729 Seventh Ave.

Studio, Fort Lee, N. J.

Sherry Service, .729 Seventh Ave.

Stewart, Anita, Productions, Inc., 6 West

48th St.
Sunshine Film, Inc., in West 42nd St.
State Rights Distributors, Inc., Eongacre

Building.

Talmadge Film Co., 318 East 48th St.

(Studio).
Topics of the Day Film Co., 1562 Broadway.
Triangle Distributing Corp, 1459 Broadway.
Tyrad Pictures, Inc., 729 Seventh Ave.

United Artists, 729 Seventh Ave.

Universal Film Co., Broadway and 48th St.

Vitagraph Co., East 15th St. and Locust Ave.,
Brooklyn, N. Y. (Studio) ; Office, 1600
Broadway, New York.

Warner Brothers, 220 West 42nd St.
Western. Import Co., 1457 Broadway.
Wilk, Jacob, 1476 Broadway.
Williamson Bros., Inc., 1476 Broadway.

Young, Clara Kimball, 12 11 Aeolian Building.

OUT OF TOWN

American Film Co., 7227 Broadway, Chi-
cago, 111.
American Studios, Santa Barbara, Calif.
Artcraft Pictures Corp., Hollywood, Calif.

Bear State Film Co., 220 South State St.,

Chicago, 111.
Brunton, Robert, Studio, 5341 Melrose Ave.,

Hollywood, Calif.

Charles Chaplin Studios, LaBrea and De-
longpre Aves., Hollywood, Calif.

Christie Film Corp., Sunset Blvd. and Gower
St., Los Angeles, Calif.

Commonwealth Pictures Corp., 220 South

' State St., Chicago, 111.

Essanay Film Co., 1333 Argyle St., Chicago,
Illinois.

Fairbanks Pictures Corp., 6284 Selma Ave.,
Hollywood, Los Angeles, Calif.

Fox Film Co., 1401 Western Ave., Los An-
geles, Calif.

Goldwyn Studio, Culver City, Calif.

Ince Studios, Thomas, Culver City, Calif.

Kleine, George, 166 North State St., Chi-
cago, 111.

Lasky Feature Film Co., 62S4 Selma Ave.,
Hollywood, Calif.

Metro Pictures Corp., 1025 Lillian Way,
Los Angeles, Calif.

Pathe Freres, 1 Congress St., Jersey City,
N. J. (Studio).

Ray, Charles, Studio, 1425 Fleming St., Los

Angeles, Calif.
Rolin Film Studio, Court and Hill Sts., Los

Angeles, Calif.
Rothacker Film Mfg. Co., 1339 Diversey

Parkway, Chicago, 111.

Selig Polyscope Co., Garland Building, Chi-
cago, 111. ; also 3800 Mission Road, Los
Angeles, Calif.

Sennett, Mack, Studio, 1712 Alessandro St.,
Los Angeles, Calif.

Tourneur's Film Co., Productions, Inc., Uni-
versal City, Calif.

Universal Film Co., Universal City, Calif.

Vidor, King, Studio, 7200 Santa Monica

Blvd., Hollywood, Calif.
Vitagraph Company of America, Hollywood,

Calif. 1

Walleene Film Comedies, 25th and Lehigh

Aves., Philadelphia, Pa.
Wharton, Inc., Ithaca, New York.

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Rejected Scenarios

Writers dig that old scenario up. Let's look
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TKe Importance of Being in
Earnest

(Continued from page 25)

to her after lunch, for instance. He will
leave any set, no matter how expensive it is,
to go on an out-of-the-way location and
shoot one scene in its natural sequence.
And then he treats his people as if they
were actors, not just types. He likes to
keep the same people with him all the time
and he expects you to play anything he
gives you. I've found all of this particu-
larly interesting and it has been much easier
for me to be spontaneous."

The stage was his first love and, sooner
or later, he said he will probably go back
to it again, if only for a little while.

We were sitting in the living-room of an
old Scottish home. At least, it looked like
the living-room of an old Scottish home.
In reality it was a set for the first act of
Barrie's play, "What Every Woman
Knows." There were stiff-backed chairs
in the room and equally stiff-backed family
portraits on the walls.

At my feet was a work basket with a
sock half knit and a ball of grey yarn.

At Nagel's hand was a large family bible
with a reading glass completely covering a
page in a chapter of Isaiah at which the
book was opened.

Subtly, Conrad Nagel seemed different in
appearance from my recollection of him as
he had looked several months before. It
was some little time before I noticed that
this was due to his hair. Before, he had
worn it clipped short and brushed to a
glossy slickness. Now, it was long, for
purposes of the picture, doubtless, and the
wind had blown it every which way. He
had been driving without a hat. Also, when
I said something about his being idolized in
New York during the run of "Forever
After," he turned a becoming pink and lost,
for an instant, the thread of what he was
saying. His hair, by the way, is yellow in
some lights and light brown in shadow.
Taffy colored I suppose you would call it.
I noticed that fact particularly when he
blushed.

"I . . . ah . . . people see you on the
stage and they forget that the lines you
are speaking were written for you. They
forget to disassociate you from your part.
And it is hard not to unconsciously absorb
their viewpoint," he paused for a instant
and then went on in a different tone, ob-
viously losing the personal application in his
interest in the psychological problem. "It
is possible for a man to become conceited
without knowing it, especially if he has no
close friends outside the profession. He
has acquaintances, of course, and he goes to
luncheons and receptions and teas. These
acquaintances are always thinking of him
as the character they have seen him play.
They believe that he is wonderful ; not quite
human ; and gradually, subconsciously, he
begins to believe it himself The only way
to spot this in yourself is by the little false
touches that begin to creep into your work."

I noticed that the word "psychology"
crept frequently into his conversation. Ap-
parently, he is taking a renewed interest in
the study of how people think and why.
He has always believed in the power of
mind over matter. His parents early im-
pressed both him and his brother with the
importance of right thinking. His brother,
several years younger than he, is also an
actor..

"I am to be with Mr. William de Mille
permanently, now," Conrad Nagel went on,
"and that means I'll have a chance to play
various characters. Besides, (enthusiastic-
ally) an association with him couldn't help
being valuable. We were speaking a little

100
AGC

qiyvrasj^ 1

while ago about the importance of keeping
your interest varied, and he is a good ex-
ample. (In conversation, Nagel avoids the
passive tense, 'possibly because it nearly al-
ways sounds like an affection.) For in-
stance he is an enthusiastic advocate of the
Single Tax. Mrs. de Mille is a daughter
of Henry George, you know. Twice a
week, regardless of how hard he has been
working, Mr. de Mille gives up an evening
to lecture. I'm not a believer in the single
tax but I do enjoy hearing him talk about it.
He is not only brilliant but he is also very
much in earnest."

Another man Nagel sees frequently is
Albert Reese Williams, a prominent war
correspondent who recently returned from
Russia, "I love to hear him talk," by this
it may be seen that, tho his profession comes
first, he is sincerely interested in many
things outside of it.

Conrad Nagel was born in Keokuk, Iowa,
in 1896. His first professional engagement
was with a stock company in Des Moines,
tho he made quite a reputation as an ama-
teur actor and producer while in college.
(In athletics, he made a number of records
as a sprinter.) His success was assured
from the start. He appeared in "The Nat-
ural Law," "Experience," "The Man Who
Came Back" and "Forever After." Pic-
tures he has made are, "Little Women,"
"The Lion and the Mouse," with Alice
Joyce; "Redhead," with Alice Brady; "The
Fighting Chance," "Athalie" and, under his
contract with Famous Players-Lasky,
"Midsummer Madness" and "What Every
Woman Knows."

— Witk Kings

(Continued from page 72)

tive arrival of the Kings. "Why didn't you
stay in one place? Are we assembled? Is
the interview on? Remember the inter-
viewee is not a celebrity of stage and screen
but the wife of Kenneth Alexander and
mother of the most wonderful baby in the
world."

"It is very difficult," I said, "to imagine
her with a baby."

"Is it?" said Mollie, "then I'll show you.
I'm going to take two doctors home with
me — they come out every two weeks — one
to see that the baby's food is all right —
the other to see that he's all right. You
shall both go out and see the baby."

"I'd rather see him than eat," I said. The
Publicity Lady was ominously quiet. I
knew from her expression she was visu-
alizing the possibility of getting the inter-
view over and hieing us to Childs — the
Automat — anywhere .

Now the Kings are Irish and the Irish
are not slow and the sisters spoke together.
"You haven't had lunch !" they accused. "I
understood," began the Publicity Lady, de-
terminedly drowning my polite murmurs —
"Of course," they chorused. "How stupid
of us — " dragging us to the elevator — to the
dining-room. "Soup," they told the waiter,
"chops, salad, coffee, pastry, coffee, bring
it quickly. We'll go for the doctors and
come back. Now eat."

We did, thankfully. We did everything
but sign the check — we left that for Mollie.
Outside the car, with the two doctors and
the two sisters, was waiting. And all the
way to Forest Hills, Mollie King, vibrant
with youth and happiness, talked of her
career, her family, her ambitions, and now
and then, in unexpected places were inter-
ludes of "Ken" and the baby.

"Isn't it odd?" — she said, "that Kenneth
Alexander, Kentucky gentleman, should
come up here and fall in love with me?
You see, he belongs to the wealth and aris-

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tocrac v- 1 Kentucky. He is well known as
a sportsman, owner of famous racing
horses, clubman. He lived all alone, except
for a houseful of servants on a beautiful
old estate — and he is so very attractive —
I know perfectly well that all the mothers
of all the debutantes were hoping he would
fancy one of their daughters. But what
did he do but come to New York and insist
upon marrying me !

"Afterward, we went south to his home
and spent four wonderful months. Then,
baby was coming and I was lonely for my
family — you see we Kings have almost never
been separated. So Ken said we would
come to New York for a time and he would
transact business from here. He and his
family — who live on an adjoining estate
down there in Kentucky have always been
in the coffee business. And then baby came.
"See?" she said, as we approached an
attractive bungalow — "see the baby carriage
in Mollie' s yard ?" And before the car had
fairly stopped she had hopped out and
flown like a bird to its nest and was plying
the nurse with questions as to just how the
baby had been during her absence.

"Yes, Mrs. Alexander, you may carry
him upstairs," said the nurse indulgently —
and the procession formed — Mollie and the
baby, sister Nellie and the two doctors.
When the Publicity Lady and myself were
summoned to the nursery, Mollie was seated
in a low chair, the baby held closely, in her
eyes a wonderful light, on her face a brood-
ing tenderness as unconscious as it was
beautiful

"Isn't he the most precious thing?" she
said, "and to think he is mine. He is such
a tiny morsel — but he is more to me than all
the diamonds, pearls, money and careers in
the world. And the doctors say he is abso-
lutely perfect — not a thing to worry about"
— laying him reluctantly down. "Now I
must hurry back to town as I'm meeting
Ken at six."

"Have you decided upon the baby's ca-
reer ?" asked the Publicity Lady as we sped
away.

"Oh, yes !" said Mollie. "He's going to
West Point, then to Princeton and then, I'd
like him to be a lawyer, a good one."
"He might choose the stage," I suggested.
"No," she said emphatically. • "Not a
boy — if he were a girl — but I shall not have
a girl until I am older — and wiser. Girls
are difficult.

"Nellie and I know, dont we? We have
both been on the stage since we were chil-
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Elliott when I was seven and have been on
the stage or in pictures ever since, except
for the intervals when I was in school.
Nellie and I were in vaudeville together
two years and in my last stage play 'Good
Morning Judge,' brother Charlie was with
me. But I liked best of all perhaps, 'The
Belle of Bond Street' in which I starred
after understudying Gaby Deslys."

"And what about your career now?" I
wanted to know. We had dropped the two
doctors and the Publicity Lady at their
respective corners and Mollie was relaxing
comfortably in the big car between Nellie
and me.

"Well," she said, a bit wistfully, "Ken
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how Southerners are — they want their
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did two pictures for American Cinema a
couple of years ago and I've promised them
to do another. And I'm planning to go on
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Then we will see how it works out. I think
I can reconcile Ken to a careering wife —
when he knows it will make me happier."

After leaving Mollie King, I wondered.
She is beautiful as a flower is beautiful.
She is the kind of an idealist, such as her
southern husband would place on a pinnacle
to love, admire and worship. But, she is
the Mollie King of stage and screen — vivid
as a flame — who has sung and danced her-
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adored by picture fans the world over.

Will she, in course of time, be content to
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TO^MS"^

Just Folks

(Continued from page 39)

little chance to work altho I did get in a
few weeks now and then.

"Then, I decided to take up pictures.
That way I could keep my family with me
and bring them up regularly. So I began at
Lubin's in Philadelphia. That was eight
years ago, not long after May Beth was
born. After a few years we came to New
York, and we have kept»pretty steadily at
work. Johnny here, has grown so tall you
would hardly recognize him as the 'Skinny'
in the Briggs comedies — nor Thomas as the
little son of many Alice Joyce pictures. And
would you know Rosemary as the little
blind girl that appeared with Lionel Barry-
more? The 'Carr children' have been in
demand — but, they have kept up with their
school — we have seen to that."

'And aren't you thrilled at finding your-
self become suddenly famous?"

"Not so much thrilled as satisfied at hav-
ing done a piece of outstanding work," she
replied. "I have had such marvelous let-
ters about it. People stop me on the street
and speak to me on the cars to tell me how
much the picture meant to them. And one
day a minister came all the way from a
suburban town to ask me to his church —
to speak to his people. Wasn't that wonder-
ful? It proves that a big majority of people
like plain, simple stories of everyday things.
Stories with heart interest, with good
triumphing over evil. They prefer that kind
of picture.

"We were a long time making the picture,
but it was a very happy experience. Mr.
Millarde was such a fine director. He wel-
comed suggestions and worked with us —
not over us. 'Now mother,' he would say —
'you know how women used to dress up the
chairs in tidies and set the table and dress
the children for school — go ahead and fix
things up and tell me what to do !' And I
did.

"The first part of the picture with the
children, was easy. I had only to be natural
and do the things I had done hundreds of
times before. But the later scenes, my
grief at having my son arrested for horse
stealing, at leaving my children to go 'over
the hill' was very hard, because I had to
really feel it.

"But, if the picture rings true, as the
critics say it does — if it teaches the lesson
it was intended to teach — it was worth while
and I am happy that it was my privilege to
create Ma Benton.

"So you see, we are not unusual, and I
dont want you to think we are," she said,
when I had drained the last drop of Rose-
mary's chocolate and eaten the last crumb
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departing. "We are all doing the thing
we can do best and doing it the best we can.
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103

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Out of the Cnorus

(Continued from page 35)

ried in and o. importantly. Somewhere
within a woman was shrieking in hysterics.
As they came to a jarring stop by the steps,
a doctor, carrying his satchel hustled out.
He was talking to a police sergeant and the
light from within struck sparks from the
polished brass buttons of the Law.

"What has happened?" asked Ross Van
Beekman quietly. He was grey of face but
quite composed. He even lighted a cigar
with a steady hand.

"Bad business !" the doctor clipped off his
words economically, "Ned Ormsby, New
York man — shot !"

"Dead?" Ross was equally laconic.

"Quite." The doctor nodded, "shot thru
the lungs. Dragged in here fifteen minutes
ago and collapsed in his room. Not a word
before he died. I'm afraid the chances of
finding the murderer are small."

"No," said Ross, and smiling, flung away
his cigar, expanding his hands, "I should
say they were excellent. In fact if the
Sergeant here has handcuffs with him he
can make the capture now !"

The trial of Ross Van Beekman for the
murder of Ned Ormsby was quite the
choicest thing of its kind the newspapers
had ever had. They made full use of their
opportunities. There were the usual pic-
tures of the victim at the age of four,
holding a rubber ball and wearing curls.
There were interviews with the Van Beek-
man family butler and the chorus girls who
had shared the same rabbit's foot with the
beautiful Mrs. Van Beekman, nee Flo of
the Winter Palace. There were sob-stories
of the prisoner's handsome person, his
tastes, his education, his romantic marriage,
and his inexplicable refusal to explain his
motive for the shooting. There were pic-
tures of the jurymen, which gave them the
pleasing appearance of a dozen ex-convicts
from the Rogues' Gallery, diagrams of the
murdered man's quarter's at the Inn, and
discreet references to certain spicy episodes
in the victim's past.

When the police searched the Van Beek-
man house, all signs of violence had been
removed. A silken curtain took the place
of the shattered door, and the carpet had
just been taken up from the mistress' room
for cleaning, so the butler explained. No,
he hadn't heard any sounds, seen any sights
or entertained any suspicions. He was dis-
missed from the witness stand, and it may
be here remarked, disappeared soon after
to return to England with a tidy little sum
which enabled him to purchase a pub and
live happily ever after.

One by one the servants denied any know-
ledge of the whole affair, until the only two
left to be examined were the prisoner's
wife and Ross Van Beekman himself.
When her name was called, Flo rose, but
before she could ascend the witness stand
her husband was on his feet. He did not
glance at the white, troubled beauty of the
face under the black hat brim. "May I
ask the court a favor?" he questioned, and
then while the courtroom strained forward
to catch the low, calm words, "I should like
to spare my wife the ordeal of being ques-
tioned about something of which she knows
nothing. The quarrel between Ned Orm-
sby and myself was a personal affair only.
The reason for it I prefer to keep to myself,
but there is no doubt, that I shot him.
Surely there can be no need of tortur-
ing a woman who has already suffered
enough."

A ringing cry filled the room, gripping
the nerves. "No! No! He is trying to
spare me hut he shall not throw his life
away ! I am to blame for Ned Ormsby 's

death — my husband only did what any hus-
band has a right to do when he finds his
wife's lover hiding in her closet "

Once more Flo Maddis held the center of
the stage ! Slender and tragic in her black
dress she faced them all, forgetting self,
unmindful of triumphant eyes that gloated
over her public shame. Perhaps she did not
see them, only the judge, nodding kindly
at her, and the lawyers waving frenzied
hands, and Ross, looking at her imperson-
ally, as if at a stranger with that little,
chill smile on his lips. Once more the hope-
lessness of words to deal with situations
swept her. How could she protest her real
innocence? What could she say that would
explain away the little evil thoughts going
on behind those faces ? But she didn't
count anyway, only Ross — only Ross

Very far away someone was speaking.
She caught a word or two — "Your honor,
'twas I was hiding there! I heard it all —
him threatening her and she telling him to
go."

Flo turned her head with a great effort
and saw thru the blurring of the world a
little sharp anxious face under a monster
bandage, the face of °old Daniel Maddis
who had been freed from prison for good
behavior in time to save his girl once more.

The afternoon extras had the story for
the home-going stenographers and office
boys to read, and gloat sentimentally over
the old Daniel's story of his first rescue of
his daughter from Ned Ormsby, his rail-
roading to prison, his return to find her new
happiness imperiled by the same man. He
had stood by the window, he testified, and
heard Ormsby's threats and his daughter's
final defiance. Then, fearing further trouble
he had climbed to her room and hidden in
the closet where Ross had shot him in the
belief that he was defending his honor.
Afterward he had managed to drag himself
down the trellis, and into the underbrush
where he had come upon Ormsby hiding.

"And I shot him, your honor !" old Daniel
had shrilled, "shot him like the dog he was !
I ain't ashamed of it. I'm glad ! Glad and
proud."

The newspapers made the Van Beekman
case as long as possible. They discussed
the action of the judge in dismissing
the charge against Ross Van Beekman, and
the action of the jury in refusing to indict
old Daniel Maddis. Sob ladies wrote syrupy
accounts of his self-sacrifice and devotion,
entitled "A Father's Heart," or "Love
Laughs at Prison Locks." But it could not
last forever. The final word of the affair
appeared in the form of a terse paragraph
on the society page.

"It is hinted that certain recent events
have quite changed the attitude of the Van
Beekman family toward their new daugh-
ter-in-law. According to rumor the young
couple have received the parental blessing,
likewise the blessings of the sisters and the
cousins and the aunts. They will take up
their residence in their palatial home in an
exclusive Westchester suburb whose res-
idents have, it is said, already signified their
willingness to make the acquaintance of
young Mrs. Ross."

And with this, the Van Beekman's dis-
appeared from the public page, and the pub-
lic eye alike. What is there to interest the
weary business man, and the blondined
stenographer in the domestic affairs of a
tiresomely contented married couple who
actually prefer each other's company to that
of any one else's and are both most devoted
to a plain little old man who limps about the
grounds of the beautiful house, pottering
with spring radishes and fall bulbs?

104

-- r

The Muse of the Reel

> (Continued from page 63)

cm^i 1 ^

"There is no doubt that marriage is the
most important event in our lives and the
least studied or understood. It presents so
many problems that it offers an endless
array of plots for human stories. 7

"Plots ! How do you think of so many
new ones?" I ventured, with something
like envy in my voice.

"They are everyzvhere !" she replied. "All
around us — everyone and everything holds
a plot. I've been at it for years and yet I
come to each with a fresh enthusiasm.
Each proposition thrills and interests me —
its possibilities. I'll never be convinced that
the general public does not want serious
entertainment rather than frivolous, and if
I can sow a few helpful seeds in my pic-
tures, which will appeal to some man or
woman in my audience, I shall be satisfied.

"That is why I go on in this work, I
want to present my own ideas, and again,
that is the reason I can not be happy to
direct someone else's story, that would be
only half a creation.

"I have a marvelous team of actors to
work with now, — Claire Windsor and Louis
Calhern, and I believe they will prove great
favorites and that brilliant futures await
them. Claire came to me directly from
playing extra in an Allen Dwan picture. A
friend saw her and brought her to me, be-
lieving she was the exact type I was looking-
for. When she came she didn't burst into
a voluble recital of all she could do but
stood quietly before me. It was like gazing
into a mirror, I could read her very soul
and I saw that she had great emotional and
dramatic ability, with fine poise and pli-
ability.

"Louis has had splendid stage success
and possesses a charming personality as
well as rare talent. I must have players
who will let me lead them; I go so fast
they must put their hands in mine and run
with me. Both Claire and Louis do this
and we work beautifully together."

Lois Weber was born in Allegheny City,
Pa. Reared in a God-fearing atmosphere,
she spent her young life studying music.
She sang in church and, her intense nature
stirred by a religious fervor, she became a
Church Home Missionary, donning the
habit and plunging zealously into the work.

Then, things went frightfully to smash,
and she suddenly found she had to earn
her own living.

Over in Chicago there was an Uncle who
has always seen great possibilities in Lois
and he hastened to Allegheny and carried
the girl back to Chicago determined to see
her properly launched upon a career of his
choosing.

Miss Weber's eyes twinkled as she re-
sumed her story, "It always delights me to
recall how Uncle overcame my many ar-
guments and finally landed me on the stage.
As I was convinced that the theatrical pro-
fession needed a missionary, he suggested
that the best way to reach them was to
become one of them, so I went on the stage
filled with a great desire to convert my
fellowmen. How green, how inexperienced
was that girl — that was I !"

Then came the meeting of Lois Weber
and Phillips Smalley. It was love at first
sight and after a tumultuous courtship ex-
tending over an entire week, they were
married. In those days f;w companies
would take husband and wife and they fin-
ally decided to separate in their dramatic
work. Miss Weber was engaged as the
first prima donna of the New York Hip-
podrome and they hastened to Mr. Smal-

ley's mother to tell her t ere

they found Ellen Terry as 1 The

great actress realized the the

young couple and earnestly implored them
to keep together, regardless of any sacri-
fice, declaring that did they part now their
married happiness would soon die.

So impressed was the young wife with
this picture that she resigned from the Hip-
podrome, giving up what seemed a beck-
oning career, and for two years sat in
hotel rooms waiting — waiting for her op-
portunity.

"To keep my mind off the horror of our
first separation," said Miss Weber, "I went
out to the Gaumont Talking Pictures. I
wrote the story for my first picture, besides
directing it and playing the lead. When Mr.
Smalley returned — and by the way, this
was our last as well as our first separation
— he joined me and we co-directed and
played leads in a long list of films. That
was thirteen years ago and we are the only
team that is still working together, brain
to brain, shoulder to shoulder in all our
endeavors."

Watching the logs settle down into a
steady glow, Miss Weber said, "Speaking
of plots, what stories I have heard in this
little study of mine. It has become a con-
fessional, for it seems to me all the women
with burdens come to me. I've made some
interesting deductions. We are all too apt
to confuse happiness with passion. Love is
constant hunger — friendship alone brings
happiness of lasting satisfaction. Life be-
gan to be more beautiful for me, when I
found friendship in my husband's love and
we have developed into the most wonderful
friends in the world, so close in our
thoughts and sympathies that words are
hardly necessary. The touch of the hand,
the raised eyebrow carrying a whole volume
of meaning to the other.

"The thing I am always planning to do,"
began Miss Weber, after another pause,
"is to seek some quiet nook, buckle down
and write the play that is in my heart."

"The theme of this play?" I queried.
"Ordinary problems of ordinary people —
else it could never be a great play !"

Miss Weber has not sacrificed her home
life for her public career. Always she has
made a home, now a very beautiful one in
the shadows of the Hollywood foothills.
Again she displays her feminine charms by
confessing that she would rather cook than
eat, merrily declaring she is the original
woman who loves to linger over the table
and ask for recipes.

"For the first time in my life I am be-
ginning to learn to play. I've always been
too busy before. See the new tennis court?"
and beckoning me to the window she point-
ed with pride to the spacious court and
artistic little club house beyond, which form
an added attraction to the beautiful setting
of sweeping lawns, fine old trees and rows
of flaming dahlias which surround the cot-
tage studio.

"I can not begin to tell you the delicious
sense of luxury, leisilre luxury, that comes
over me when I clasp a racket in my
hand," and she laughed like a child over
her new toy.

"We must work and we must play,"
summed up Miss Weber, "if we would
strike the proper balance. We must ever
hold ourselves as the open channel, for all
intelligence comes from the Divine source,
and we must always be ready for — inspira-
tions !"

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Ne^ Contest To Be Inaugurated

, A contest is designed primarily to stimu-
late interest. Its-profit and pleasure are in-
cidental .but necessary factors of its ex-
istence, ltis* an established fact that com-
petition is vital to success, and as long as
this holds true, there will be contests of
one sort or another, for no one is beyond
the eternal lure of them. They are the
direct response to a fundamental need of
human nature.

Our last great Popularity Contest de-
monstrated this to our complete satisfac-
tion. The interest displayed was unusual.
Such was its unparalleled success that we
have been led to devise another, and we
believe an even greater contest, and we
are convinced that in this case the inter-
est will be overwhelming. It is to be
called The Ideal Cast Contest.

In anticipation of the flood-tide of votes
we expect to pour into the office — the last
contest nearly swamped an efficient and
willing force — we have an experienced
corps of girls ready to tabulate and
count the votes as fast as they come in.
Each month may bring its staggering
quota, and it will be successfully handled.
Every little detail, however trivial, will be
taken care of ' with expedition and dis-
patch. We mean to overlook nothing that
will help to make this contest as nearly
perfect as is humanly possible.

This time, instead of voting for one fa-
vorite, you may vote for all of them. We
believe that this is the fairest and most
comprehensive sort of contest we could
severally conceive of ; because every play-
er of any sort of role has an equal chance
for success.

It is, after all, rather absurd to compare
and bracket together men like Charles
Chaplin and the inimitable Theodore Rob-
erts. Each is expert in his line, but their
lines are as far apart as the poles ! There
is of necessity a place for both of them.
Neither is it wholly fair to cast your vote
for the winsome Connie Talmadge. who
has won your heart in her engaging roles,
when your mind pays tribute to the rare
genius of the vibrant Nazimova. Our new
contest is designed to remedy this state of
affairs; for it is in the respective lines
the various actors and actresses of the
screen have elected to follow that you
shall vote for them.

Suppose, for instance, you were a pro-
ducer of unlimited wealth and power, con-

templating the making of the greatest
moving picture of all time, and could se-
lect your cast at will. Lend it your critical
thought. It is a game of Make-Believe,
but its result is real. You are amused, you
are instructed, your wits are sharpened,
and you know that wherever your vote is
cast, it will bring gratification and pleasure
to someone. You are for the moment The
Great Producer ! Who will be your lead-
ing woman, Mary the immortal, or Mae
Marsh of many moods ? And your lead-
ing man, Bill Hart, the King of the World,
or Wallie the debonair?

You are privileged to vote for the en-
tire cast, from the leading lady down to
the juvenile, not overlooking the all-im- \
portant director himself. The ballot is as
follows :

THE IDEAL CAST CONTEST

I, the undersigned, desire to vote as follows :

Leading Woman

Leading Man

Villain

Vampire

Character Man

Character Woman ^f

Comedian (Male)

Comedian (Female)

Child

Director

Name

Address

Note : — This is a sample ballot and cannot he
used, as the contest has not yet been actually in-
augurated.

It will open officially in the April issue of The
Motion Picture Magazine, when more definite in-
formation will be furnished.

The rules for The Ideal Cast Contest
are few and simple :

1. All votes must contain the name and ad-
dress of the voter in order to be considered.

2. In voting for the Ideal Child, the vote may
be cast for either a boy or a girl.

3. It is permissible to vote for one person twice.
For instance, Dorothy Gish may be your ideal
Woman Comedian as well as your favorite Leading
Lady. You may vote for her in both parts.

Watch the Magazine for further an-
nouncements regarding this great contest.

Trie Screen Time-Tabl*

{Continued from page 98)

Little Miss Rebellion — C-10.

Dorothy Gish — Paramount.
Madam X— MD-11.

Pauline Frederick — Goldwyn.

MlDCHANNEL — D-7.

Clara Kimball Young — Equity.
Mrs. Temple's Telegram — CD-7.

Bryant Washburn — Paramount.
Once to- Every Woman — D-7.

Dorothy Phillips — Universal.
Officer 666— CD-10.

Tom Moore — Goldwyn.
Penalty, The— MD-11.

Lon Chaney — Goldwyn.
Prtnce Chap, The — D-10.

Thomas Meighan — Paramount.
Right of Way, The— D-12.

Bert Lytell— Metro.
Romance — D-8.

Doris Kcane — United Artists.
Scratch My Back — CD-9.

Helene Chadwick — Goldwyn.

Silver Horde, The — D-7.

Myrtle Stedman — Goldwyn.
Sins ok Rozanne — MD-12.

Ethel Clayton — Paramount.
Sins of St. Anthony — CD-3.

Bryant Washburn— Paramount.
Something to Think About — D-ll.

Gloria Swanson and Elliott Dexter-
Cecil DeMille Prod.
Suds— D-8.

Mary Pickford — United Artists.
Sweet Lavender — D-7.

Mary Miles Minter — Realart.
Test of Honor, The — SD-10.

John Barrymore — Paramount.
Treasure Island — MD-7.

Shirlev Mason — Paramount.
White Moll, The— MD-8.

Pearl White— Fox.
Why Change Your Wife — D-ll.

Swanson-Meighan — De Mille Prod.
Woman Game, The — SD-6.

Elaine Hammerstcin — Selznick.

LAG£

«'

jOTlON PICTI

MAGAZINE

Announcement

IT has been found
necessary to
change our plans
regarding the picture
play "Love's Redemp-
tion." This play was
originally intended to
carry the winners of
the 1920 Fame and
Fortune contest but it
is now quite clear that
justice cannot possibly
be done to both in the
same picture, for rea-
sons that will be quite
obvious to those who
see either picture. We
are therefore com-
pelled to release
"Love's Redemption"
as a straight, five reel
photodrama with the
original cast includ-
ing Blanche McGar-
ity and Anita Getwell,
winners of the 1919
contest and many of
the 1920 Honor Roll
as announced. The
1920 Fame and For-
tune Contest will be
released in a Two-
Reel Picture to be
called

"From Farm
to Fame"

in which Corliss Pal-
mer will be featured
and in which, several'
hundred other contest-
ants will be shown, in-
cluding all of the Fi-
nal Honor Roll, Gold
Medalists and Honor-
able Mentions.

Ask your Theatre
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108

lAG£

The Miracle Girl

{Continued .from page 45)

than to play in a serial. , Not only her soul
but her body was bruised.

"I dont often tell about my participation
in serials," she told me quietly, "I am not
proud of it."

It was at this ^time that George Loane
Tucker was hunting: for a girl to play in
"The Miracle Man." He had searched the
Hollywood, studios and besieged the book-
ing agents, all to no avail. Nowhere could
he find the ideal girl. On the very last day
before he had to start his picture he went
to the one' remaifling booking agent.

"Show me every portrait you have in the
•place,'' he sa!d in . desperation.

Then it was that he came across a print
of Betty Compson.

"I'll try her," he said and took her ad-
dress and 'phone number.

When Betty returned home worn out
from a day of seriating, her mother told
her that George Loane Tucker had called
her up and wanted to meet her that evening.
It was very important, he had said.

Now Betty, if the truth must be told, had
heard only vaguely of a Mr. Tucker and
so she wasn't particularly impressed.

"I couldn't see the King of England him-
self tonight," she said, shedding tears of
hopeless fatigue.

"Better go," counseled her mother, "it's
business."

So Betty, with no heart in the task,
powdered her nose and smoothed her hair
as best as she could and trotted down to the
Los Angeles Athletic Club where she was
to meet Tucker. Told to wait, she flopped
down in one of the big hall chairs. She
felt ages old, disillusioned, worn out phys-
ically. If this engagement didn't turn out
well, she determined to herself that she
would give it all up. Presently Mr. Tucker
approached and introduced himself. He had
been watching her unobserved. He spoke
to her of beautiful and interesting things :
books, music, certain plays. Gradually she
forgot herself and all her old enthusiasm
and idealism flared up and she joined in the
conversation.

"You are the very girl I want for my
great picture," said Tucker. "This will be
the making of you."

Even then Betty chameleoned into her
old skeptic self. So many directors — in
fact, all directors had told her that self-
same thing.

But finally she accepted Tucker's offer.

The Miracle Girl was Betty Compson
herself. For when she started work she
was skeptical, disillusioned — but as work
progressed she became interested, enthusi-
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When Betty and her mother were shown
a preview of "The Miracle Man," her
mother groaned :

"Oh, Betty, you look so homely."

And Betty thought the same thing. You
see their standard had been beauties in
comedies.

When "The Miracle Man" was given to
the public and the reviews began coming in
— wonderful reviews, each better than the
last — Betty could scarcely believe it all.

Then came offers, tremendous offers at
enormous salaries. Betty Was thrilled to
the core of her being. At last [she had
arrived.

She played one more role in a George
Loane Tucker production, "Ladies Must
Live," a part which she herself says does
not stand out like the girl in "The Miracle
Man." Then her own company Was formed.

"All my hopes and ambitions and yearn-
ings were put into my first production,
'Prisoners of Love, " recounted Miss

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Compson — "I am terrified for fear it will
not equal 'The Miracle Man,' and yet I
love it. I like 'Reincarnation,' my second
production, too, but not with the same feel-
ing. You see 'Prisoners of Love' was the
first."

So after all her struggles neither you
nor I can blame Betty Compson for her
lavish expenditure on luxuries, rich per-
fumes, rare fabrics.

"I still feel the thrill of first possession
in my beautiful car," she said opening wide
her expressive grey eyes.

Betty Compson is at present a radiant
beauty because, as she says, she is so happy
she can scarcely breathe — she is tasting the
champagne of having fame, fortune and the
whole world at her feet, but do you want
me to whisper to you her one remaining
ambition?

To have children of her very own! But
so far she has failed to find a man whom
she would wish to be their father.

"Could you give it all up?" I asked—
for marriage, because she had confided her
belief that marriage and a career do not
go together.

"Well," she said hesitantly and looked a
little dubious, but in her eyes, lingered a
lcnging assent.

However you look at her, Betty Compson
is a great actress, a girl of tremendous
emotions, and she can make you think what-
ever she wills, for all the magnetism of
superb femininity is expressed thru her
eyes, the windows of her soul.

Floating Island on Olympus

(Continued from page 23)

ing, with the elements of good drama in the
very beginning or you're helpless. I've done
the best I knew how in them tho and worn

beautiful clothes — but after all " She

dismissed the explanation with a toss of
her head. "Now I'm about to have really
fine vehicles, 'The Passion Flower,' next ;
then 'The Sign on the Door' and after that
'Smilin' Thru.' "

Later we went up to her dressing-room
where she showed me some shawls she had
bought for "The Passion-Flower," exquis-
ite things they were, with stories embroid-
ered into their silken folds in threads of
silver and purple, crimson and gold .

She wrapped a black one about her and
she personified the passion-flower. We dont
know just what one looks like but we know,
at least, what one should look like.

Then with the city outside the curtained
windows growing indistinct in the dusk we
talked of other things — the poetry of life — .

"After all," said Norma laying the shawl
away with the others, "It is, all of it, for
nothing if you miss happiness. We love
our careers, our successes, and sometimes,
strange as it may seem, what others call
our failures, but more than these, we love
our Loves. Our families and our romance.
In her love, I think, a woman gives her
soul. And in the very giving of it, she
finds it."

This was Norma, the woman speaking —
the Norma whose feet are at last treading
the heights, the Norma who rejoices that
she did not leave her beloveds of her ideals
on the way .

She switched off the lights at the dress-
ing-table and darted towards the adjoining
kitchenette.

"My pudding," she sang, "my nautical
pudding — two tablespoons of cornstarch
will make it for six "

Outside in the dusk I thought of her
again — the young girl treading the heights
of Olympus, head high, eyes bright with
hope — who stops to talk of stews and Float-
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TWENTY-FOUR LEADING PLAYERS

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Marguerite Clark
Douglas Fairbanks
Charlie Chaplin
William S. Hart
Wallace Reid
Pearl White
Anita Stewart

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Theda Bara
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Charles Ray
Norma Talmadge
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Mary Miles Minter

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Alice Joyce
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Pauline Frederick
Billie Burke
Madge Kennedy
Elsie Ferguson
Tom Moore

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110

Afi£

The Spirit of Harmon^

(Continued from page 48)

me, "I expect to keep on with both, too, for
a while, but eventually I want to direct.
Looking back on the early part of my life
when I was a kid in Toronto, I remember
that I did little else but read — even to the
neglect of my routine studies. Until re-
cently I had apparently forgotten every-
thing I read then, but since I've been in the
studio I find bits apropos of some scene
here and there coming back to me — pieces
of 'business,' I think you call it, which help
the action of that episode.

"Essentially, I think I am the business
man,— the methodist at any rate. Already
I've planned how I'll work things out, pro-
vided the chance to direct comes to me.
It seems to me that all the details should
be figured out before the director sets his
foot on the stage. With these attended to,
he can devote his entire time to his players.
And I think the director should have been
the player. Then he knows his players —
their actions and reactions."

He seemed sure that in directing he
would find his nook and I asked him if he
thought it was ego which caused one to
feel of a surety that they could do some
certain thing.

"Perhaps," he smiled, "but I dont think-
so. The greatest artists in the world have
had to find a place for themselves. Their
gifts haven't always been hereditary so that
they've stepped into the place they coveted.
Good Lord, what would happen if no one
felt they could do that thing which they
can do. I believe in believing, if you un-
derstand me. For myself, I call it the spirit
of harmony — that feeling we have when
everything is in tune when we think of
some certain thing. When a person feels
that he can do something, he should be
encouraged, no matter how ridiculous his
belief seems to others."

I asked him to tell me more about his
spirit of harmony. He had mentioned it
as you mention your pet theory and belief.

He grinned boyishly and studied me lor
a fraction of a minute before he began : —

"It was when I was in the Flying Service
during the war that I first became acutely
conscious of what I call my spirit of har-
mony," he said. "I knew very little about
aeroplanes — yet I often went up alone, and
for a time I was flying instructor. 'Way
up there I'd bend forward in the cockpit
to feel if everything was all right. It wasn't
for any miss in the engines that I would
listen. I'm quite sure of that. It was,
actually, to feel whether I was safe. Two
or three times that spirit of harmony or
whatever you want to call it was missing
and I landed in time to save my life because
I felt that something was wrong."

He had written a short poem about it,
but he could not be persuaded to permit
its use.

"People will think I'm trying to wax
poetic," he said. "I know I cant write
poetry, but I wanted to explain it all to my-
self, primarily, and that seemed the way to
do it. You say the public will not criticize
the mode of expression when there is a
thought there. I like to think that. I like
to think that we are receptive to thoughts
and not supercritical of the presentation,
but I'm not sure, quite."

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Outside of the theater crowds were al-
ready arriving. Groups of girls stood chat-
ting ; opera-glassed for the acts and choco-
late stocked for the intermissions

In this scheme of things where all

are giving something, he gives romance.
And, he says, "it is a very pleasant busi-
ness."

California Ckatter

{Continued from page 97)

harmony thruout the working days. Lon
Chaney has just completed another picture
with Miss Compson. Emory Johnson will
be her new leading man.

The opening of the new Mission Theater
in Los Angeles, at Broadway near Ninth,
was the event of the season in film circles.
Admission was by invitation only and all
the prominent stars were there beautifully
gowned (cela va sans dire, nest ce pas?)
Among those noticed were Mary Pickford
and Douglas Fairbanks, Wallace Reid.Mary
Miles Minter, Gloria Swanson, Katherine
MacDonald, May Allison, Bebe Daniels,
H. B. Warner, Thomas Meighan, House
Peters, Betty Compson, Lew Cody, William
S. Hart, Wanda Hawley and others. Mayor
Meredith P. Snyder made an interesting
address. Everyone voted the Mission the
most artistic theater in the West.

Marshall Neilan has introduced a novel
stunt in the direction of big scenes covering
large areas and in which many people ap-
pear. In order to get his instructions to
various distant points in filming a spectacu-
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was stationed on the camera platform with
Mr. Neilan and the other three at distant
points just outside the camera lines. This
is the first time the semaphore system of
communication has been used in staging a
film production.

Margaret Loomis is Douglas MacLean's
new leading lady in his next Thomas Ince
comedy, "Bellboy Thirteen."

Helene Chadwick was overheard chatting
with Will Rogers the other day : "I hear it
was wet in Jackson when you went there to
do 'Boys Will Be Boys' ?"

Rogers, guilelessly, "Yes, indeed. It
rained all the time."

Elsie Ferguson has arrived in Holly-
wood ; so has Dorothy Dalton and Ethel
Clayton and the Lasky studio is hard put
to it to find sufficient dressing-rooms until
the new addition to their already huge plant
is built. I saw Gloria Swanson on her first
day back at work wandering around the lot
followed by the studio's official hair dresser.
"I'm sure I dont know where to take you,"
she said rather bewilderedly. "My dress-
ing-room isn't ready yet."

Julia Faye came to the rescue and loaned
hers, as she had finished work for the day.

Everyone knows how realistic the Bos-
worth screen fights are, but no one better
than Bosworth himself, for he is suffering
from an injured hand, having broken sev-
eral of the bones in a fight scene staged
with Nigel Barrie for his new picture.

Priscilla Dean and her husband, Wheeler
Oakman, have purchased a lot in fashion-
able Beverly Hills and plan to build a
southern colonial style home in the spring.

Fred Niblo is busy directing a new spe-
cial production at the Thomas Ince studios.
Included in the cast are Lloyd Hughes,
Betty Blythe, Joseph Kilgour and Betty
Ross Clark.

Francis X. Bushman and Beverly Bayne
are starring in "Marry the Poor Girl," an
Oliver Morosco "speakie," which had its
premiere in Los Angeles. All the critics
were firm in their praise of the excellent
work of Beverly. The play will probably
be seen on tour.

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A Toiling Lily

(Continued from page 55)

by the same old colored mammy who had
cared for her mother down in Louisiana.

"I came to California when I was eleven
to enter a girl's school," she told me. "I had
always dreamed of being a great singer,
for I had a little voice and had appeared in
church and amateur entertainments from
infancy, I remember how mamma used to
spend hours making wonderful cheesecloth
dresses for me to trail about in.

"There wasn't anything romantic about
my starting to work; it wasn't the result
of any compelling artistic urge — you know,
so many say that — it was simply that I
wanted to take care of mamma. There are
just the two of us, so it was natural that I
should turn to my voice as the means."

Dorothy sang in vaudeville in Los An-
geles and nearby towns, and attracted at-
tention, receiving an offer to go on the Or-
pheum's big time. Just when she was about
to go to New York, Lee and Moran sent for
her to come out to Universal and make a
picture with them. Practically considering
all sides, she decided she would try this and
take the money to develop her voice.

"I'll never forget my first experience.
We were making 'House Cleaning,' and I
couldn't keep my face toward the camera
but gave the best little exhibition of the
back of my neck and left ear that you ever
saw. I aged fifteen years when I saw that
picture in the projection room," she laughed
merrily at the memory.

After four pictures with this jolly co-
medy team, Al Christie saw her possibilities
and she trotted over to the Christie lot
where she has been ever since, with about
sixty pictures to her credit, then came her
recent flight into the five-reel realms with
Charlie Ray.

"So many comedy girls have stepped
right into dramatic work and that is where
you'll see me some day," and Dorothy em-
phasized her words with care. "I am going
to stay with Mr. Christie, for he knows my
ability and I am sure will give me my best
chance. Several companies have asked to
have me loaned to them and in this way
I'll get other experiences gradually."

Dorothy and her mother live quietly in a
pretty flat in Hollywood and are the best
of chums. Up in the mountains back of
Pasadena they have a little log house where
they spend many week ends, taking along
their books, for both love to read. Right
now, Dorothy is reading "Sentimental
Tommy," and is deep in a twelve volume
history of Europe which she says is written
in a most entertaining manner without too
many dates, and she is fascinated with this
glimpse into the past. She has arranged to
take French this winter, for some day,
when she has earned it, she plans to take
her mother and travel for a year.

"I have never been even to New York,"
she deplored, "and I'm crazy to see some of
the plays. So much can be learned in this
way and I am determined to go on studying
and advancing until I reach the top.

But Dorothy isn't always so serious and
the next minute she gaily confided that with
a million other girls she was heartbroken
when Dick Barthelmess was married. "I
always call him 'Dick' and get a thrill out
of it," she giggled — . "I had a terrible case
— tho of course he didn't know it, and if he
hadn't married such a sweet girl I'd feel
worse. I'm going to see ' 'Way Down East,'
just to see her — and him" and the eyes
were mockingly serious.

So, you see, Dorothy Devore is just all
girl, natural, winning, attractive. Here is
a wish that the great Heights of which she
dreams may be successfully scaled!

UICKPICTUR
MAGAZINE

Contest Brings Deluge
of Beauty

(Continued from page 41)

More than one photograph may be sent
in. A coupon should be pasted to the back
of each.

We now take pleasure in presenting the
winners who constitute the first honor roll
for this magazine:

Florine Findlay Debbart. of 333 Moore
Street, Bristol, Va., a violet-eyed beauty
with golden brown hair, deep coloring, and
olive complexion. She has had experience
in interpretative, toe, character and na-
tion dancing in private theatricals.

Aileen Douglass, of 1579 West 49th St.,
Los Angeles, Cal., who has the unusual
combination of black hair, brown eyes, and
a fair complexion. She has had no stage
or screen experience.

Lorraine Deleval, of San Gabriel, Cal.,
who has had dramatic training, and is a
charming, petite brunette.

Beulah Burnett, of 931 Main Street,
Hamilton, Ohio, a brunette, who has had
some dramatic experience, and whose pic-
ture has been shown on the screen of the
Hamilton theaters.

Loretta Pettigrew, of 568 Bergen Street,
Brooklyn, N. Y., a blonde, whose previous
experience has been small parts on the
screen.

Florence Clinton Hulse, of 2028 P. St.,
N. W., Washington, D. C, whose previous
experience has been in amateur comic opera.
She is a fair brown-e3-ed, brown-haired
maid of very apparent attraction.

Tke Sunlit Mount

(Continued from page 47)

Carmel might be called The Girl Who
Cried Herself Into Stardom, or something
like that — tho we all admit she has remained
because of her s.nile — for when she dis-
covered she was to play a small role in "The
Haunted Pajamas," she began to cry,
tremblingly declaring she thought she was
to play opposite the hero. So genuine was
her grief and so charming was she in her
weeping that she completely won her point
and was given the leading role.

i "I ' still cry when I want anything,"
laughed Carmel.

"Stage life turns everything topsy-tur-
vy," she went on telling of her stage flight.
"The day is spent in sleeping, the night in
working, with meals at queer hours, but, oh,
the fascination of it all.

"I had enough thrills to last me for a
lifetime. The biggest one came on the
opening night of 'The Magic Melody.' It
happened that one of my songs, "Little
Church Around the Corner,' was to become
one of the big hits of the play and the first
night's audiences encored it again and again.
I was so happy, yet frightened, was afraid
I would fall down or stumble or cry. I still
feel the joy and rapture of it all.

"My New York season was a revelation
for me, I wouldn't have missed it for
worlds. You must be at your best at every
performance if you want to win, for sub-
consciously the audience catches your own
spirit. You cant say, 'Please stop the
camera, I've forgotten the action,' nor are
there any retakes. You must win or lose
at that very moment. It keeps you on your
mettle and it builds to bigger things — guess
that is what everything means anyway."

Just at this point, Carl Laemmle, who was
on one of his fleeting visits to Universal
City, came thru the wide doorway headed
(Continued on page 116)

Can You Write a Photoplay?

Neither could Martha Lord-
least so she thought until —

•at

Martha Lord, a "novice," did not know

that she could write a photoplay, but she

desired to try. and so decided that she would. Six

weeks later she sold her 'first play, "Hold Your

Husband," to Selznick.

Then came "A Gamble With Innocence," to the- 1
same organization. Then, "The Inner Sight" to j
Ince. Each one brought a handsome check. But,
more than that^those "undreamed .of" successes
began a brilliant new career for het.

Can you do as well as she — will you, man or
woman, make a simple test to try your fitness —
free?

Will You Make—

This Home Test

If We Send It Free ?

THE Palmer Plan of Instruction in
Photoplay Writing now introduces for
the first time in the history of education
by correspondence, a new new method of
discovering in men and women who may
least suspect it, the presence of CREA-
TIVE IMAGINATION— that fundamen-
tal qualification which is the photoplay-
wrighfs "key to success."

If you have it in you, you should de-
velop it.

If you lack it you should give up the
idea of ever writing photoplays, for crea-
tive imagination is inborn and cannot be
acquired.

Our simple test comes to you in the
form of a confidential questionnaire pre-
pared especially for us by Professor Mal-
com Shaw MacLean, former instructor in
short story writing at Northwestern Uni-
versity and University of Minnesota, in
collaboration with H. H. Van Loan,
America's most prolific photoplay writer,
author of "The Virgin of Stamboul," "The
Great Redeemer," etcetera.

You simply send for it and try it in the
privacy of your home and without ex-
pense.

TO those who answer it successfully, will be
offered an opportunity to obtain competent
training in photoplay authorship through the
Department of Education of the Palmer Photo-
play Corporation.

We will tell you frankly if you have or if
you lack the essentials to success — for this in-
stitution serves the great producers who buy
photoplays, as well as those who wish to learn
the art of writing them : and, therefore, we
must seek only those who are fitted for real
achievement in this field.

We are now beginning a search of the nation
through this New-Method Test. And this is
your opportunity to try that test — to learn if
you are fitted for this profitable work. A new
career awaits those who are so fitted and who
will develop their inborn abilities by studying
during spare time at home.

Thousands of new stories for photoplays are
needed for next year's production and the pres-
ent writers cannot possibly supply this large
number of scenarios.

Your chance, therefore, if you succeed, is
generously ample and insures an ever waiting
market for your plays.

# * * #

WHEN your creative imagination is deter-
mined, the Palmer Plan is available to
you. It then teaches you the technique of
photoplay construction. "Technique" is the
form of writing which producers insist upon
in the scenario before they will even read the
play.

The Palmer Plan is Frederick Primer's
method of instruction — a method conceived -and
perfected by a man who, himself, wrote, sold
and had produced fifty-two scenarios in one
year. This course is of university calibre
throughout and turns out fully equipped and
finished writers.

The Palmer Advisory Council — the men and
women who direct the policies of this recog-
nized institution — consists of Cecil B. DeMille,
director general Famous Players-Lasky Cor-
poration: Thos. H. Ince, head of Ince Studios;
Lois Weber, foremost woman director, and Rob
Wagner, widely known writer and film expert.

The Palmer -Plan includes the largest photo-
play sales bureau in the world,, through which
students sell and producers buy their plays.

The Plan has already developed many new
writers and is developing new ones constantly.
G. Le Roi Clarke, a former minister, sold his
first play for $3000 before he had. completed
the Palmer Plan, and he is but one Palmer
student whose name has been but lately placed
upon the screen.

* * * *

THESE are facts, and yet there are more to
tell which we can disclose to you, however,
only after you have sent for and completed the
Palmer "New-Method" Test.

- Succeed in this preliminary test, the. most
courageous test, of this kind ever adopted by
an educational institution, and we will send
you two intensely interesting books, "The Se-
cret of Successful Photoplay Writing," which
describes the Palmer course in detail, and
"Proof Positive," containing the stories of suc-
cessful students written by themselves.

Remember, the new Palmer Confidential
Questionnaire is not a "literary" test. Clever
"style" and polished diction are of secondary
import; nee in the writing of acceptable photo-
plays. Hardly a word of what you write ap-
pears upon the screen.

Many have ability who do not know it. The
tiling to do first is to learn if you have cre-
ative imagination.

If you have _you should learn to write
scenarios. The Palmer test will tell. Since it
costs you but two cents to find out, it is cer-
tainly worth while to send this coupon. Send
it now.

I —

| Palmer Photoplay Corporation,! ^-i^V

■ Department of Education, - x^s^
} 2011 1. W. Hellman Bldg., ^""^

I Los Angeles, California.

Please send me your New-Method Con- |
j fidential Questionnaire, which I am to fill j
J out and, return to you for your perusal and .
I subsequent advice to me without charge. If I
I successful, I am to receive further infor- I

■ mafion about. the. Palmer Plan without any ■
I obligation on my part to enroll for the I
I course.

I Name:

C3-2*) ■
I Address

City State

All correspondence strictly confidential.

113

PA6

The March Issue

Motion Picture

CLASSIC

: - A N- inspiring friend for the
"^^ duties of the day.

An enchanting friend f or
the evening's relaxation.

Into the kingdom of shad-
ows, far front the realm of
monotony, this friend will
lead. you.

It is a friend you can afford j
to have always and cannot
afford to be without.

If you do not have it sent
into your home, look for it at
the : magazine stands. The
bright face on the cover and
the name "Classic" and your
friend is discovered !

The March number will be
out the middle of February
and will go to every corner of
the world and be read by
everybody who is interested
in motion pictures.

Of special inspiration is the
story of

LIONEL BARRYMORE

by
Frederick James 'Smith

because it is the first inter-
view granted by him for six
years. It is a master picture
of a-, great screen favorite.
The interview with

CORINNE GRIFFITH

by
Adele Whitely Fletcher

is a fascinating revelation of
a delightful personality.

Wallace Reid, too, is inter-
viewed -by Hazel Shelley for
March Classic.

The novelizations are valu-
able because they give in ad-
vance the stories of the new-
est and best photoplays.

More: than one happy and
profitable evening will bo
yours if you get

The March Number

— of

Motion Picture

CLASSIC

Pll4

lAS£

Model Form Letters

By Frank H. Williams

From a Man Who Has Been Cheated by
a Scenario Department.
To the Manager Scenario Dept.,

Mamfnoth Pictures Corporation
Dear Sir :

Say you, what dya mean by cribbing my
stuff? I sent you a story for the movies
called "Ain't It Awful?" and you sent it
back to me and here I see your company is
producing a picture called "The Inferno,"
by Dante ! Who is this guy Dante, any-
how? Some gink in your office, I'll bet.
Altho the plot of your "Inferno" is differ-
ent, I'll bet any money you swiped the idea
for it from my story and then changed
the title. My title was better, anyhow.
I hope you croak.

A Young Wryter.

From a Man Whose Stuff Has Been
Swiped Without Credit.
Dear Parexcellence Pictures Company.

Last evening I attended the movies and
saw one of your pictures in which you re-
present a couple of birds making a nest in
a gent's whiskers. I have for years had
birds nesting in my whiskers and I feel
that your picture is a direct infringement
of my rights. Kindly send me check at
once to cover damages before I sic the law
on ye.

Charles Luxuriant Alfalfa.

From an Individual Who Feels the Cry-
ing Need of Censorship.
Super-Superior Film Company,

Fort Lee, N. C.
Gents :

I'm going to start a movie censorship
in this town of Squeedunk. Last night my
young son, aged seven years and three
months, went to see your picture, "Three
for Two," in which you give a representa-
tion of the methods adopted by the world's
champion fly swatter in eliminating flies.
Upon coming home, my son immediately
got busy with a rolling-pin showing how
the champion manipulated his swatter and
in the course of the demonstration hit me a
wallop on. the bean and raised a bump the
size of a ripe tomato just above my left
eye, thereby spoiling my appearance and
making the Widow Perkins, whom I was
about to ask to become my second wife,
turn me down cold. Said censorship will
see to it strictly that all representations of
fly swatting are totally cut out of each and
all motion pictures coming' to this said town
of Squeedunk. This is fair warning.
Govern yourselves accordingly.

Arthur A. Amorous.

Tke Same Old Story

By Helen G. Smith

In "The Eggsposure of Eggbert," a lady
carries a market basket full of eggs down
the main street of a city, and the next day a
character is shown reading the daily news-
paper and the headlines of same are shown
on the screen. 'Tis hard to believe, but
not a line is shown telling of how des-
perate bandits, risking life and liberty in
pursuit of valuable spoil, had held up and
murdered an unprotected female laden
down with riches untold. Really, the
chances movie men lose in making their
pictures is unbelievable, when you consider
the way things happen in real life. It was.
most eggasperating !

Tj r . r ■ hi Pollie Pinch.
Hens foot Crossnm, 111.

Directors who presumably wear beards
or shave at one time or another in their
lives should be more careful and truer to
life when they have their characters shave.
I saw Harold Lemondrop shaving in a
picture the other day and in all the space
of time that elapsed until he had removed
a day's growth of beard, there .appeared
never a title or a bit of action to show his
feelings — never a curse appeared nor even
a hint of displeasure or discomfort. You
cant tell me that movie stars can. shave
without omitting at least one little cuss.
No man ever did. It cant be done. Usually
at least six good blue syllables accompany
every self-imposed shave. I have a hus-
band and know whereof I speak.

Mrs. Hen Cupe.
Allagowangowishgoway, Me.

The worst example of ignorance in di-
rectors was shown me last night when I
glimpsed Manwaring Gooseplatz in his
latest thriller "The Gal of Glory Gulch."
In the Eastern scene, after he goes to- New
York with his "pile" and has a swell home
with maids and valets, etc., there is a
scene at a breakfast table with a swell
servant waiting on the table. A title then
comes "The Next Day" and — I know it is
hard to believe — but they had the same
servant! We know better than that of
course — even a movie star isn't rich enough
to keep one that long !

<-., Nellie Noodle.

Sheecawgo.

I got the shock of my life last evening
when I attended the latest release of the
Goop Fillum Corp., "The Mating of Ma-
zuma." A lady in the film wrote a letter
to her lover which was flashed on the screen
to read and later her lover wrote her a
letter back, and it, too, was shown on the
sheet. And. can you. believe it — they were
not written in the same handwriting at all !
These film people must watch their step,
as this is against all the rules of the title
writers' union.

• TT . -., t, Mazie Mazeppa.

Union City, ra.

I saw one of the Scream Fillum Com-
pany's releases the other night — I think
it was "When Fanny Fell" — and one of
the characters drove up in a taxi and on
getting out of the cab handed the chauffeur
a bill. The chauffeur handed him back some
change and the actor went into a house.
Now, any man of the world knows that no
chauffeur ever handed back change to any-
body unless a gun were stuck under his
nose. These movie folks should be more
careful. People notice those things.

Sandy Crick, Ark.

I am a doctor by profession and when-
ever a picture is released showing a physi-
cian in action, I am always pained by the
utter lack of knowledge of the profession,
as shown by the men taking the parts
therein. For an cxemplum horribile — note
"The Pill of Portia," just prescribed for
the public by the Infamous Film Corpora-
tion : the physician in the story prescribed
for the patient and wrote on his prescrip-
tion pad what he wanted gotten for him
at the druggist's. When the messenger
came to the drugstore the prescription was
shown on the screen and I could read it
just as plainly as could be. Now, no doctor
ever wrote a prescription that any one but a
decipherer of cuneiform inscription on the
Babylonian walls could ever read. It is a
pity, but these producers ought to have
some one to tell them how to do these little
things, as they are important.

tj , r t i Dr. I. M. Itt.

Perkoliss, lnd.

« OT ^£ UR R

Forbidden Fruit

(Continued from page S3)

Steve had blundered in his exit, had been
apprehended. Now, now she was to taste
the last misery ; was to face the Mallorys,
whom she had come to love as a younger
sister ; and Nelson Rogers ... as the
wife of a common second-story man, a
criminal . . .

When she reached the ground floor,
Rogers had gone for the police, it was
Rogers, still dreaming before the fire, who
had caught Steve on his clumsy way out.
The Mallorys and the butler were guarding
Steve, sullen and resentful. To the Mallo-
rys Mary told the truth ; that it was Steve's
first offense, that she should never have left
him, he was a terrible child, sure to do
damage to himself and others if left
alone . . . She didn't cry while she told of
their marriage, of her own family, of what
she must try to do for Steve, poor weak-
ling, but her eyes were unduly bright and
her voice was brittle and harsh.

When Rogers returned with the police, a
smashed window bore witness to the tale
that Mallory told — of the prisoner escaped.

Mary had to avert her eyes lest the grat-
itude she felt for Mallory give away his
friendly lie.

To Rogers, then, Mary told the truth.
She faced the welling bitterness in his face
by saying that she hadn't had quite enough
to eat for sometime nor quite enough to
wear and so when Mrs. Mallory had offered
her the opportunity of both helping
her and helping herself, she hadn't been
able to resist. "Then," she finished, "I did
go back, after that first night, intending
never to return, but Prince Charming had
come . . . and his call was so sweet, so in-
sistent and I was so starved . . . ah, what
will not weakness and hunger do? Hunger
for things other than bread, and weakness
for the need of strength? I have been so
weak ... so weak you must think me con-
temptible, and yet, I swear it, it was the
sheer need of beauty — of beauty that made
me so !"

Rogers took her in his arms. "You
darling !" he said, "but that is all over now.
You must come to me, to me to whom you
belong. I will take care of you, dear, so
tenderly, so surely ..."

Mary drew away. She shook her head.
Her cold hand touched his brow.

"If love were all," she said, slowly, "then,
Nelson, I would follow you whether, I fear,
you wanted me or not. But love isn't all,
my dear one, not all. There is responsibility.
The responsibility toward those who have
come first, be they children or men. I have
to live up to his responsibility, for one who
is weaker than I. Dont plead with me, dear
sweetheart, you make it so much, much
harder."

And because he knew that to be true, her
eyes to be steadfast, her voice unwavering,
Rogers stepped back, and let her go.

Some women know disillusion slowly.
So slowly, very frequently, that, when the
final veil has been torn away from the ugly
thing they have worshipped and each con-
torted limb is shown to them in its verity
their eyes have grown too dim with age to
look on other dreams. Fortunately for
Mary, Steve completed the work he had be-
gun more rapidly.

He resorted, with the help of Giuseppe,
his "friend," who was also butler in the
Mallory home and the instigator and stager
of the attempted burglary, he resorted, at
Giuseppe's suggestion to blackmail of Ro-
gers. His method was to lure Rogers to
him on a pretext that Mary was in trouble,
that she had sent for him. When Rogers,

against his better judgment, but fearful for
Mary, appeared, Steve told' him that it
would cost him just one thousand dollars
to prevent the item of a rich young man
making love to a poor man's wife in the
Mallory home appearing in the papers.
Rogers smiled and wrote Steve a check.
He handed it to him. "This isn't fear of
you, Maddock," he said, "but an attempt
to let Mrs. Maddock see very clearly the
manner of man she is being so loyal to."

There was a rapid culmination. Mary
told Steve he could choose between the
money and her. Steve, with the riches in
his hand, with Mary cold, disdainful on the
other hand, chose the money. He was
about to do a vanishing act when Giuseppe
appeared and demanded his promised
share of the loot.

Steve, cornered, cried, angrily, "It war,
my wife who made this possible, wasn't it?
We'll gamble for it — that's what we'll do —
gamble for it as we've gambled for other
things."

While they were playing, Mary took the
check and stole to the window ... to the
fire-escape — down . . . She would return
the money to Rogers . . . would go away.
She felt sickened of the whole thing . . .
despairful . . .

An hour later, Roger found her at the
foot of the building, crouched there. She
had heard, she whispered, a shot in the room
above. What had Steve done? Was he a
murderer as well as a thief and a black-
mailer ? She had been too terrified to go
back, too terrified to go forward.

Rogers was very tender. "Steve lost,"
he said, "so far as I can make out. He
tried to make a grab for the check he
thought was still in the envelope. Giuseppe,
who, it appears, was ready for such a move
pulled a gun on him. Steve . . . you needn't
fear Steve any longer Mary — he is beyond
your protection — beyond the need of it."

Six months later Nelson Rogers came
back to the Mallorys' country home. Mary
was in the garden with Mrs. Mallory, who
had been more a mother than a mere friend
to her since the day when Steve had been
killed and all the world had fallen to upon
her.

When they were alone, Rogers came close
to her, bent over her; "Once you told me,"
he said, "that Prince Charming had come
into your life . . . now that you are
free . . . tell me, dear heart, is he still . . .
where he was ?"

Mary lifted her glad startled eyes. They
misted with tears. Her hand groped for
his. "Ah, my dear," she said, "dont jest . . .
now that you have come to me . . . and I
can . . . come to you !"

MA WAS OUT OF THE ROOM
Little Lemuel. — Pa, what's a counter-ir-
ritant ?

Father. — A counter-irritant, my son, is a
woman who makes a dry-goods clerk show
her every thing on the shelves and then
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{Continued from page 113)

for the studio cafe and was promptly an-
nexed by the vivacious Carmel. Genially
he posed for a picture with his little star,
while a crowd quickly gathered to watch
the proceedings, for the Big Chief is very
popular with everyone on the lot.

"Mr. Laemmle has always believed in
me," said Miss Myers, as we continued
our stroll to the stage. "He gave me my
chance just as he has so many others, and I
believe we all work extra hard just to show
him how we appreciate his faith in us."

We all recall that Carmel's first big op-
portunity' came in "The Unmarried Wife,"
a delicious comedy drama which she played
with such charm. In this she masqueraded
as an Italian, demonstrating her ability to
play these Latin types. In her next picture,
still unnamed, she will again play, an Italian
role, "a real wop," as she expressed it, and
is anticipating it with keen pleasure.

At present she is filming ".Cinderella
Jane," a Greenwich Village story, directed
by Rollin Sturgeon, in which there are
sharp contrasts, first as the drab little wife
of a popular artist, then bursting from her
chrysalis, she becomes the gayest of all the
Greenwich butterflies.

As we chatted between scenes, Carmel
furnished me with many interesting side
lights to her joyous, happy character.
Having been reared in a . deeply religious
and intellectual atmosphere, her restless
little feet are safely planted on a firm
foundation, which makes her gaiety all the
more alluring.

Her two "wobbies," as she laughingly
calls them, are tennis and a game of chess
with her father after dinner. -"He's an
expert," twinkled . Carmel," and I love to
beat him, which isn't often."

She drives her own car, likes. to swim,
has hosts of girl friends, loves the "movies,"
goes to all the theaters, dances and adores
to shop, She is skilful with her fingers
and trims all her own chapeaus as well as
designs all her frocks. She is studying
English Literature and keeps up her music,
so it is easy to imagine there are no idle
minutes in her daily calendar.

The only cloud on her horizon at present
is the fear that she may have to give up her
contemplated holiday trip to New York and
begin her "wop" picture instead. Carmel is
trying hard to live up to her philosophy, for
she confesses it will be hard to miss the
premiere of her brother Zion's new musical
play, "Blue Eyes," which Lew Fields is
producing on Christmas Eve.

There are just two of them, Carmel and
Zion, both named for biblical mountains as
indicative of the high hopes cherished by
their parents.

Tho Carmel laughingly refuses to con-
firm or deny the reports that Romance has
come and that wedding bells belong to
her history, it seems certain that Cupid has
singled her out for his fatal shafts. Any-
way, she declares that Love is the greatest
thing that can come to a girl and it should
not interfere with a career.

The most potent charm of Carmel My-
ers — and she has many, is her refreshing
spontaniety and unspoiled girlishness. She
modestly confesses she is still trying to find
herself, striving to do good work on the
screen and hoping for a big emotional play
that will place her among the brightest of
all the shining stars in the dramatic world.

"A woman's face is her fortune."
"Wrong. It is the paint manufacturer's
fortune."

<>« — xotc

3JO0OIC

atOK— HO

Shadowland

for MARCH

OK HOKI

3JOOOSC

-mam «g

which the sunlight is sifting
in

Slave," by Harry Kemp.

Shadowland has the repu-
tation for discovering many a
new genius, and is true to form
in the March issue, in which
will appear the work of a
jgj clever new artist,

WESLEY MORSE

'T'HE long, cold trail of win-
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the land of springtime.

And everybody knows it is
in the springtime that dreams
come true.

The first bright harbinger of
spring is the March issue of
^ Shadowland. y .

There is the gloom and the *
gleam of a woodland thru

'The Princess and the O

* Arthur H. Moss gives an *

* entertaining story on the vogue ?
of pantomime, entitled

"People, Puppets and Pantomime"

Pitts Sanborn, well-known
music critic, writes on the
§ French opera in America in an *

* article that contains much in- s
formation in a pleasant guise.

Wynn's whimsical touch is
& as delightful as ever in his $
French color impressions.

The color plates are of
American beauties and male
celebrities of stage and screen
— also original paintings.

Beauty articles and fashion J;
s articles make the magazine one *
for women as well as for men.

OJCZDIOIC

DJOOOIC

3>OK H$

x The March Number <

Shadowland

>k hok:

3.000XZ

DiOK XO

W 37 -

Across the Sil-Oersheet

(Continued from page 75)

and . his art. Later, Faith follows him to
London, working her way in a burlesque
show, and as he-is about to leave for Greece
upon her arrival, he entrusts her to the care
of the same Lady Cray who shattered his
life a few years back. Of course the lady
is again desirous of the temperamental Dion
and, suspecting the state of affairs between
Faith and him, she uses her influence in
bringing Faith to the same sorry pass she
herself has reached. Dion returns to find
things so and soon after Faith, implicated
in the death of Lady Cray, runs away to
the Limehouse section where Dion finds
her a captive in one of the Chinese houses.
Finding their idols with feet of clay they
start anew, basing their happiness on that
which is wholesome rather than artificial.

Every now and then Fitzmaurice strikes
home in his scenes and those laid on the
island are vibrant with tropical life; those
in the burlesque show vividly coarse and
tawdry; while those scenes depicting Lime-
house are the things of purple and amber
which Thomas J. Burke draws for us in his
popular tales.

But, on the whole, "Idols of Clay" doesn't
ring true. We have noticed that men dont
smash up their perfectly good studios, not
to mention their careers and their very life
itself, because one woman proves unworthy.
They are far more apt to continue along
masking their shattered heart behind a
smile. Not so in this story and, therefore,
it lacks the intensity of repressed emotion
and every dramatic scene becomes in itself
a climax.

Mae Murray is very attractive and cre-
ates the finest character we have ever seen
her portray. On the other hand, David
Powell's portrayal is extravagant and lacks
repression.

It seems deplorable that anyone with the
art of Fitzmaurice should go so far astray.
He seems to have lost track of his char-
acters and permitted them to go wild.

On the other hand, the beauty of the
thing as a whole will linger.

MIDSUMMER MADNESS — PARAMOUNT

Recently, when Lila Lee has been cast in
a picture she has charmed us thruout and
long after the story has become a dim
memory she has remained fixed in our
mind. This is again the case in "Midsum-
mer Madness," and for this reason we are
mentioning her before we mention the
story, Cosmos Hamilton who wrote it in
novel form under the title, "His Friend and
His Wife," William de Mille who directed
it artistically, or the other players who con-
tributed towards the general success.

The story interestingly tells of Bob -Mer-
edith and Julian Osborn and their wives,
Margaret and Daisy respectively. Bob finds
the demands of his law great and he fails
to take time to shower his wife with the
attentions and pretty speeches he made as
the sweetheart. And Margaret is hurt at
what she feels to be indifference. On the
other hand, Julian has always craved the
unavailable and when Daisy is obviously
devoted he is bored and looks for new
game. When Daisy is called to New York,
he becomes interested in Margaret Mere-
dith who, piqued at Bob's apparent coolness,
accepts his advances. Midsummer madness
descends upon both of them and realization
that it is madness and that they really love
Bob and Daisy comes none too soon.

William de Mille has handled his char-
acters well — each and every one alike they
share the blame. Jack Holt as Bob Mere-
dith who belittled the frailty of human

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nature in permitting his friend Julian to
give his wife the attentions he should have
given her.; Lois Wilson as the wife who
failed to realize that some affections are
so deep that they need no constant declara-
tion, and Conrad Nagel as the husband who
finds his wife's well-meaning attentions ir-
ritating, are well cast.

Personalis we didn't blame Julian for
being upset when he found his military
brushes tied together with pale ribbon and
a billet-doux. We can imagine it would be
annoying when you had barely time to
dress. And so, altho in a trifle different
way with all of the others — Director de
Mille's production shows clearly that well-
meaning intentions are invariably those
which cause trouble — the character of
Daisy Osborn is le*s sympathetic than the
others, yet you hope always that things will
turn out well for her. What more could be
said for the charm of Lila Lee.

DANGEROUS BUSINESS — FIRST NATIONAL

We reiterate. You cant have everything.
Constance Talmadge possesses a genuine
talent for the farce and then is unable to
find farciful vehicles in which to demon-
strate that talent. It is sometime now since
she has had a really good story and "Dan-
gerous Business" is no better and no worse
than the others in which she has recently
been cast.

It is really "Scandal" with the new trim-
mings, only the new ones arc not nearly so
effective as the old — more' s, the pity.

Nancy Flavell is the fiirtiest flirt who
ever flirted. And every new love affair is
declared by no less a person than herself
to be The Love of Her Life. First it is
John Barrymore and then, after a host of
others, Signor Spanclli, the tenor who has
come to town. To save herself marrying
Mr. Braille, her mother's choice, she says
she married Clarence Brooks, her father's
secretary and a meek individual who de-
lighted in doing her every bidding before he
sailed overseas. But then Clarence comes
home and he is not the same meek Clarence
and — ye shades of "Scandal" — he insists
that she go with him to his own home as
his Wife. He gives her the bedroom and
uses the day-bed in the sitting-room himself
and when she tells him he has compromised
her and implores him to marry her he re-
fuses until she proves to him that she has
learned to care for the name he will give
her.

Of course, he eventually becomes "The
Real Love of Her Life," and there is the
happy ending with the fade-out showing
Clarence II demanding enough attention to
successfully keep his mother out of any
trouble, which might come her way.

Kenneth Harlan plays Clarence to Con-
stance Talmadge's Nancy and both have
been seen to decidedly belter advantage.

THE PASSIONATE PILGRIM — COSMOPOLITAN

"The Passionate Pilgrim" is called an
all-star production and while it doesn't
boast stars, it docs boast notable and worthy
players, among them Frankie Mann, Claire
Whitney, Van Dyke Brooke, Arthur Roc-
cardi, Matt Moore, Rubyc de. Remer and
Julia Swayne Gordon, and is not the aver-
age all-star production minus one lone
popular player.

In bringing this story to the screen
Robert Vignola has not had an easy task,
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connection with a murder case and their
subsequent flight that he might save her the
tortures of the witness stand. He took her
to the woods only to lose her and he has
returned to the city to earn his daily bread.
Marjorie Daw, the sob writer on the sheet
does what she can for him, even to having
him assigned to writing the biography of
one of the deceased citizens of the town.
Miriam, the eldest daughter, takes a. great
interest in the writing of her father's bio-
graphy and later in the writer himself.

Before the story ends she is able to forget
the wheel -chair to which she has always
been confined and together she and Henry
Calverly dispose of the dishonest trustees
of her estate.

Matt Moore who is entrusted with the
title role is splendid as the broken-spirited,
absent-minded writer, while Rubye de Re-
mer, who has been declared the most beau-
tiful woman in America by Helleau, is
charming in the role of Miriam and very
beautiful.

Food, Folly and Fame

(Continued from page 64)

last night. Try the Lambs' Club."

We did. It was deserted.

Someone had said to be sure to look over
the Algonquin. "It's the film center of
Manhattan," they had said.

To the Algonquin we went. There we
told our troubles to the head waiter.
"There's nobody of consequence tonight,"
he said. "Dick Barthelmess was in the
other night. Tommy Meighan, too. But
they're away — or something."

We were beginning to think Barthelmess
did the hotel eating for the film profession.

We went out into the night.

Next day we tried the Astor grill room
at luncheon time.

Our inside information was correct in
this instance, altho no players were present.
But every producer, press agent and "New
York representative" seemed to be present.

Over there was Carl Laemmle conferring
with four relatives. At the next table was
George M. Cohan. Nearby was Lewis J.
Selznick. And over there Samuel Gold-
wyn. Everybody was penciling figures on
the table covers.

We listened. Above the buzz we heard :
"Incorporated for ten million . . . paid
$175,000 for the story . . . some writer,
had a story in the Saturday Evening
Post . . . The exhibitors eat up his stuff.
. . . Shot 900,000 feet on his last picture . . .
Says he's going to make a big film, no
matter how much it costs the New York
office . . . Lewis says to me, says he,
come over an' head my press department at
$500 any time you wanta ... He gets
$3,000 a week, on paper .

Here, indeed was the noonday home of
the photoplay art. But you could hardly
call such a luncheon amusement. Plainly,
no one was amusing himself.

We visited the theater. Not once, but
dozens of times. On opening nights, when
New York's celebrities always attend. "The
death watch," they call it. We tried second
nights, too, when the audience is almost as
"hard boiled."

Here are our theater findings : We caught
Samuel Goldwyn and Irving Berlin, the
song writer, at "Enter Madame." Jerome
Storm, the director, at the Scotch Players.
Eugene O'Brien at the Irish Players. Mild-
red Harris, with Mamma Harris, at half
a dozen openings. Norma Talmadge at
"Ladies' Night" with husband Joseph
Schenck.

Plainly, the screen folk do not go to the
theater for their amusement ; not regularly,
anyway.

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State

We investigated the Ziegfeld and
Century midnight roof shows. At hoth we
caught the dignified David Wark Griffith
actually dancing. (The surprise of that
nearly repaid us for the whole investiga-
tion). And at theiZiegfeld midnight enter-
tainment we saw Theda Bara.

About this time our investigation began
to haunt us. It ruined our bank account.
Our digestion began to totter.

But we caught Owen Moore on the Del-
monico Roof. Mrs. Sidney Drew at a de
luxe Italian restaurant on 48th street and
also 'way out at City Island.

To Greenwich Village we hied ourselves.
"They all go to the Inn," we were told.
"I saw 'Gene O'Brien there myself." But
they weren't there^any of the times we
dropped in. Neither did we detect celluloid
stars at the Pirates' Den, The , Green
Feather, The Pig and Whistle, .the Samo-
var, the Moulin Rouge Cave or any of the
other Greenwich places where ybu' satisfy
your hunger in semi-daykness.

Our endurance and digestion 'failed us
about here and we rushed back to our
lodgings to recover.

There, over aspirin tablets and a cigaret,
we summed up our investigation. . Briefly,
we learned on unquestioned authority, (i. e.,
the head waiters ) , that :

A great many film folk live at the Al-
gonquin.

The office executives consume their lun-
cheons at the Astor.

The flappers go to the Claridge for lun-
cheon and tea. Yea, and dinner.

At dinner time the best place to find your
cinema celebrity is at the Algonquin.

We admit these findings are based on
slender grounds. But we shall attempt no
more investigations until our doctor takes
us off a diet.

Somehow or other we have a sneaking
doubt whether the Eastern film favorites
ever amuse themselves. No wonder they
rush away so gladly to California.

THE SPLENDID SCREEN

Thos. J. Murray

Ere the flashing silver screen

Here was seen
Romance kindled far away,
Polar pass and coral bay;
Sails upon horizon grey.

Novels where Adventure ran

We would scan,
Tried to picture pirate bands,
Landing on dim midnight sands,
Quickening to abrupt commands.

We had dreams of Western trails,

Bandit hails.
Clashes on the prairies wide.
Sweep and susge of Danger's tide,
Far across the Great Divide.

Now we're thru with make-believe,

And receive ,

Views that drift before our eyes,
Bottomlands and peaks that rise,
Into crimson sunset skies.

' Seas that creamed on foreign shores
Wash our. doors.
And Life's splendid game is played,
In. the vistas that 'parade"
Screened by picture man and maid.

OH — HOXI

35000JCI

3WK=I0

EUGENE V. BREWSTER

Editor-in-Chief of

Motion Picture
Magazine

Motion Picture
Classic

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OTlON PICTURI

What Makes a PKotopla^

(Continued from page 61)

or are separated for ten thousand years,
as in "The Darling of the Gods."

But matters must be settled one way or
the other. This does not mean that the
story must end there, or even that the
conflict must stop. But the immediate plot
is definitely settled and the audience knows
the result.

On the stage there are many new ideas
on this subject of the dramatic quality. In
"Jane Clegg," produced in New York last
year, there was no conflict at all. But a
great playwright wrote this play. We ad-
vise amateur movie writers not to experi-
ment with new theories of craftsmanship.

Last of all, your photodramas must have
dramatic unity. Never introduce anything
which does not bear directly on the story;
all action must either ch .rterize your
people or carry forward the it. Dont go
off at a tangent, starting witr. one idea and
ending with another. Drama is art artificial
means to produce the effect of reality, and
not reality itself.

If you solve your plot by some pure
coincidence, you lose your unity. If you
introduce a multitude of characters, start-
ing your first reel with one hero and hero-
ine, and ending your last reel with an en-
tirely different hero and heroine, you lose
your effect. If things "just happen" to
your plot people, without rhyme or reason,
you have not a dramatic plot.

To cite a familiar example, the story of
Old Mother Hubbard and her empty cup-
board, is replete with pathos, but not with
drama. Nothing happens. If she went out
and stuck her hatpin into a prominent pro-
fiteer, that might be the beginning of a
good story.

On the other hand there is the story of
that energetic witch who, finding her lar-
der empty, enticed Hansel and Gretchen
into her ginger-bread cottage for cannibal-
istic purposes. There is conflict — between
the witch and the children — and crisis —
where she tries to shove Gretchen into the
furnace — and unity. The witch never
changes her purpose. It would make a
better movie than some which have been
produced.

If you are to write scenarios, you must
first of all understand this dramatic quality.
The best way to do this is read the best
plays in your local library and write them
into five-hundred-word synopses. You will
notice a fundamental similarity between the
play plots. Try to understand what differ-
entiates them and you will be a long ways
on the road towards your career as a suc-
cessful screen writer.

This coupon or a similar one of your own
making must accompany your correspond-
ence to Tohn Emerson and Anita Loos.

COUPON

J am

ot [ sending with this coupon a 300

word synopsis of my story. I desire John
Emerson and Anita Loos to answer the follow-
ing question:

The answer to your question is as follows (to
be filled out by Mr. Emerson and Miss Loos):

I Teach Piano a Funny Way

Investigate

"'^

•aM*Mu

So People Told Me When I. First Started
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To persons who have not previously heard of my
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writing for my 64-page free
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Studio MQ 23, $98 Columbia Road, Boston, 25, Mass.

DR. QUINN AT. HIS PIANO

From the Famous Sketch by Schneider, Ex=

hibited at the St. Louis Exposition

wasted effort. They can be obtained only from
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Men and women who have failed by other meth-
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'FREE BOOK COUPON

QUINN CONSERVATORY, Studio MG23,

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Name.

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■ You can be quickly eared, if you

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Lying Lips

(Continued from page 69)

not comprehend • him. Hands . . . hands
were pulling her — pulling her away from
the white silent man — to the oncoming
vessel — of the Things She Was Used To — .

When they drew her to safety, she faint-
ed. Cornwell had disappeared.

In London, safely at home, under Willie
Chase's terrifically amorous, ecstatic gaze,
she was delirious. Willie, who had never
understood her, understood her less than
ever now. Her mother was reduced to
despair. She would, of course, marry Willie.
She would become a pale, wan mannikin
circulating about with Willie's millions on
her back, on her hands and breasts and
arms. Well, she had been born for that . . .
the trouble was that she had dared attempt
to avert Fate. She had offered defiance.
She had even been willing to drink Death
so that love had held the cup. No use. It
was her life.

Eventually she named the day. The
tradespeople became bearable. Her father
remained pale and inconspicuous. Nance
felt that he was sorry for her.

Willie gave a betrothal party in the new
mansion the young Willie Chases were to
occupy. Nance told him to see to it that
it was extraordinary. "If it's not, Willie,"
she said, "I'll take poison and ruin us."

Willie believed that she would. He be-
lieved everything she said, especially that
she detested him, but he forgave her be-
cause he wanted her so beastly bad. So
Nance came, pale, orchidaceous ; told him
she loved it.

She walked into the garden. Two men
were standing by the fountain. Nance re-
garded them idly. At her approach they
turned — and- she went death-white. One
of them . . . one of them was . . . The
other man hailed her, "Miss Abbott," he
said, "I wa'nt you to meet Mr. Seaton, Mr.
Charles Seaton." Then he left them. Nance
leaned against the fountain ledge. She put
one hand to her head.

"I thought," she cried; "I— thought "

Charles Seaton' s voice was. pleasant. I'm
sure your thoughts would be interesting,
Miss Abbott," he said.

Nance straightened. Her pale, ill face
flamed again, momentarily. "Blair," she
cried hoarsely, "Blair — Blair Cornwell !
You are You ! You are love ! Oh, my God :

"Forgive me, Miss Abbott," the man at
the fountain said, equably, "you cannot be
quite well or you think you have seen a
ghost — fie on you for such childish pastime.
Come, let me take you in to Mr. Chase.

Nance allowed him to guide her toward
ihe house. "Then," she quavered, "then
you — are not you?"

"Oh dear, yes," he said, "I hope that I
am I — certainly. Mr. Seaton, and very
much at your service, Miss Abbott."

Nance didn't know how she got thru the
evening. The next day she sent for Charles
Seaton. He came at once. If her white,
wide-eyed face and unmistakable frail form
had any effect upon him, he concealed it.
She begged him to dance with her to the
tune of Mandalay. He danced with her —
correctly, that was all. When it was over,
panting, she asked him whether or no he
had ever danced to the tune before. He
said that he supposed he had — it was popu-
lar and he danced a great deal. Several
days later he took her to tea — at her behest.
There, point-blank, she asked him if he
were not Blair Cornwell — that he was —
how dared he deny it — to Iter?. He laughed
at her, but gently.

The day of her wedding drew on apace.
Willie w~as"solicitous for her ..health, which

seemed in danger of breaking. He spoke
of the South of France. Her mother was
submerged in the trousseau. Her father
patted her head when they met.

The day of the wedding arrived. They
told her how clear and crystalline it was
and she said she had thought it rained.

They dressed her and she was beautiful,
heart-breakingly so. She looked like a
slender white orchid touched by death.

Her mother said Willie would do her
good . . . the South of France . . . she
was sensible . . . she was a good girl . . .

Nance said, "Oh, yes, mother ; oh, yes,
mother ; and she was dry -eyed and tearless.
There wasn't anything to weep about. She
had drunk the last rites of death and been
cheated thereof. She had broken the body
of love, eater "t and spat it out.

At the ch:.x- n it was, as always, sombre
and malodorous. There were the usual
funeral flowers. Willie awaiting her under
the stained glass windows looked empur-
pled. She knew it was indigestion rather
than stained glass. His neck overlapped
his collar by three hairy ridges. How
clearly she was thinking ! How sharply
breathing ! She had the vulgar thought that
her heart was ulcerated. It ached like a
tooth that is.

At the altar the priest began to mutter
familiar words. All at once she didn't hear
him at all nor the tidal rise and fall of the
organ, of the women's gowns. She heard,
rather, the murmur, the retreat and ad-
vance, of the everlasting sea. She heard her
man's voice say "We haven't a ring, dear . . .
we haven't . . . but you are mine . . . and
I am yours . . . Amen . . ." She heard
her own voice, too. It said "Amen." She
realized that she had said it aloud, and in the
wrong place. The minister looked at her.
So did Willie. She gave a loud laugh. She
made them stop. "I am married !" she cried
out : "Stop at once. I am married. I am
already married," and then she fainted and
escaped the creditable uproar.

AG£

Charles Seaton was sailing for Australia
at noon the next day. At ten minutes be-
fore noon Nance apppeared to him in his
stateroom.

"It doesn't make any difference how,"
she said, "but I had to come. I had to make
you know before you left." .

Charles Seaton looked at her and laughed.
His laugh was a shade less hearty. Her
face was so white. "Did you pick this boat
for your honeymoon ?" he said.

Nance shook her head. "There isn't any
honeymoon," she said ; "I didn't marry him.
I couldn't. One marriage . . . you see, I
was married . . . already. Something hap-
pened to me and I knew it . . . that only
one thing mattered . . . my marriage . . .
the true one . . ."

"I dont believe you," said Seaton.

Nance handed him the paper. "Read
that," she said, and he read an account of
the Abbott-Chase thriller. He turned to
her and his face matched hers in whiteness.

"Forgive me," she was breathing . . .
forgive me and then I'll go . . ."

Charles Seaton, Blair Cornwell again,
gathered her up against him, broken — his
own, "Forgive me" he begged, "for being
so hard, so cruel . . . ah, beautiful one,
beautiful thing . . . you hurt me so . . ."

"Lover . . . dont, dont ... !"

"Everything is all right now ... I have
money . . . left me . . . we will go
away . . . begin again . . . dear heart . . .

Nance did not answer him, because she
had no words.

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fjgVpTJpNPICTURE

Paramount
Pictures

listed in-order of release
(March I, 1921 to May I, 1921)

"The Faith Healer''

George Melford's Production

of Wm. Vaughn Moody's

famous play.

"The Call of Youth"

Hugh Ford's Production of

Henry Arthur Jones' Play.

Thomas Meighan in

"The Easy Road"

Another splendid

Tom Meighan Production.

"Straight is The Way"

A Cosmopolitan Production of

the story by
Ethel Watts Mumford Grant.

Wm. S. Hart in

"O'Malley of the Mounted"

Mr. Hart's own production of

a story of the Northwest

Mounted Police.

Mae Murray In

"The Gilded Lily"

A flashing story of New York

at its gayest

A Robert Z. Leonard

Production.

Dorothy Oalton in

"The Teaser"

An absorbing story of Alaskan

dance halls.

* "Beau Revel"

Louis Joseph Vance's great

story.

A William De Miile

Production

"What Every Woman Knows"

Sir James M. Barrie's play

charmingly produced and

acted, with Lois Wilson

and Conrad Nagle.

Roscoe (Fatty) Arbuckle in

"The Dollar-a-Year Man"

Mystery and melodrama chock

full of laughs.

A Cosmopolitan Production

"Buried Treasure"

Marion Davies in a novel and

colorful romance.

A John S. Roberston

Production
"Sentimental Tommy"
Sir James M. Barrie's won-
derful Tommy and Grizel
brought to life.
A William D. Taylor

Production

"The Witching Hour"

Elliot Dexter in Augustus

Thomas' greatest drama.

Douglas IWacLean in

"The Home Stretch"

A Thomas H. Ince Prodjc-

tion from Charles Belmont

Davis' story.

Wallace Reid in

"The Love Special"

From Frank Spearman's story.

* A I nomas H. Ince Production

UNSHH

«*./T

Count me in on tha*t !

»♦

NOT one member of the
family wants to be left
home when it's Paramount
night at the theater.

That's the night you are all
sure to get your money's worth.

Paramount schedules romantic
trips for you every few days —
trips into the adventurous lives
of the rich, the bold, the brave
and the fair.

Some strange drama of life
which might happen in a mansion
of Mayfair, a chateau in Nor-
mandy, a bungalow in Calcutta,

country club on Long Island, or
the savage depths of Africa, is all
visible in Paramount Pictures.

Your craving for healthful ad-
venture is being well planned for
by Paramount.

Never forget that the very
greatest motion pictures, the kind
you wouldn't care to miss, can
only be made by an organization
of world-wide scope, such as Par-
amount's, which counts no cost

and shies at no difficulty or danger
to make your Paramount schedule
an unbroken tale of thrilling en-
tertainment.

Don't be among those people
who let their photoplays choose
them ; that is, they go to the the-
ater without knowing what's en.

Choose the Paramount Pictures,
choose the Paramount Nights.

Those nights are as great, as the
nights called Arabian, nights of
pleasure so enthralling as to take
you completely out of yo rself
into the enchanted land of Let's
Pretend.

It is a simple matter to follow
the Paramount schedule. Keep
tab on the newspaper advertise-
ments of your theater and look
for the phrase "A Paramount
Picture."

You will notice this also in the
theater's lobby and on the posters.

Those are the nights to go! —
The nights your theater shows
Paramount Pictures!

(paramount tyidtur&s

\. FAMOUS PLAYERS - IASKY CORPORATION :i

MAR -7 i92i

©CI.B488728

A BREWSTER PUBLICATION

Established December, 1910. "We lead, others follow," and it was ever so

Motion Picture Magazine

(.Trade-mark Registered)
Founded by J. Stuart Blacktou

Vol. XXI APRIL, 1921 No. 3

loitered at the Brooklyn, N. Y., Post Office as second-class matter.

Brewster Publications, Inc.

SUBSCRIPTION — $2.50 a year in advance, including postage in the United States. Cuba, Mexico and Philippines; in Canada.

$:i.OO; in foreign countries and Newfoundland, $3.50. Single copies, 25 cents, postage prepaid. U. S. Government Stamps l<

cepted. Subscribers must notify us at once of any change of address, giving both old and new address.

Issued on the 1st of the month preceding its date and on sale by all newsdealers.

Published ^ ew B V^^ f;S--' J - • Adele Whitely Fletcher, Editor

EUGENE V. BREWSTER, President ami Editor-in-Chief Frederick James Smith, Managing Editor

E. M. HEINEMANN. Secretary

ELEANOR V. V. BREWSTER, Treasurer Hazel Simpson Naylok Guy L. Harrington

Principal place of business, 175 Duffield Street, Brooklyn, N. Y. Paci fic Coast Representative DT f* c ""^ DomsT Jr.

(Also Publishers of the Motion Picture Classic, out on the Gladys Hall Director of Advertisino

fifteenth of each month, and Siiadowland, out on the Papttot a W Ashworth Rufus French, Inc.

twenty-third) Capitola W. Ashworth Eastern Manager

Address all communications to E ' M . H E ■ n e m a n n Archer A. King, Inc.
■ _ ,, , , __ . _ . _______ Associate Editors Western Manager

MOTION PICTURE MAGAZINE ME ^ B & H S s Ma „ a ^

175 Duffield Street, Brooklyn, N. Y. A. M. Hopfmuller l g Conlon

Member of the Audit Bureau of Circulation Art Director Chief Accountant

CONTENTS pa,,:

Gallery of Players 11

Portraits in graveure of Constance Binney, Douglas Fairbanks, Erich von Stroheim,
Bebe Daniels, Doris Kenvon, Rudolph Valentino, Hobart Bosworth, Elsie Ferguson and
Betty Hillburn.

Journey's End 20

The Author and the Cinema W. Somerset Maugham 21

Richard the Tenth Gladys Hal! 22

The story of Dick Barthclmess.

Piloting a Dream Craft Hazel Simpson Nay lor 24

Gloria Swanson's achievements and visions.

The Mirror of Life 26

Pictures of Charles Ray in "*lhe Ole Swimmin' Hole."

The Tony of Yesterday 11

Jimmy's Father ; Maude Cheatham 28

An interview with Will Rogers.

In League With the Fairies Corliss Pa liner 30

An article on beauty and how to preserve it.

The Gilded Lily Janet Rcid 31

The Personality Pen Boris Dculseh 36

Impressionistic sketches of famous screen folk.

May-Fair Maude Cheatham 38

A word picture and camera studies of Miss Allison.

Building the Scenario John Emerson and Anita Loos 40

You Can Never Tell ■ 41

That's Out Tamar Lane 42

Gold-fishing 43

Hearts and Heights Adele Whitely Fletcher 44

Ethel Clayton in retrospect and prospect.

Happy Days Barbara Beach 46

Mahlon Hamilton's cure for the blues.

Charlie Comes Back 48

Man, Woman, Marriage Gladys Hall 49

Out of the Workshop Grace Lamb 54-

The personality story of Wyndham Standing.

Among Those Present Willis Goldbcck 56

Lila Lee is interviewed without notice.

Desert Heart Maude Cheatham 58

William S. Hart is interviewed in a strange setting.

The Editor's Page 59

The Ingenue Helen Carlisle 60

Verses and illustrations by G. Francis Kauffman.

Trust Your Wife Norman Bruce 61

Flood Tide in Fame and Fortune Contest 66

The Stagnation of the Screen Frederick James Smith 08

Rothapfel's views oil the great industry.

Across the Silversheet Adele Whitely Fletcher 69

California Chatter Hazel Simpson Naylor 70

Greenroom Jottings 71

The Answer Man 76

W.U0PE3-

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duTinc

Stage Plays Tkat Are Wortk WKile

Readers in distant towns luill do well to preserve this list for future reference.

Apollo. — "The Prince and the Pauper,"
with William Faversham. New adapta-
tion of that interesting Mark Twain fan-
tasy of boyhood in merrie England of the
old days. Well staged by Rollo Peters and
acted with considerable spirit, particularly
by Mr. Faversham.

Astor. — "Cornered," with Madge Ken-
nedy. A crook melodrama by Dodson
Mitchell, in which Miss Kennedy, fresh
from several years on the screen, plays
a dual role : a slangy girl of the under-
world and a young woman of society. Far-
fetched, but possessing interest. Miss
Kennedy is charming.

Belasco. — "Deburau," with Lionel At-
will. One of the notable events of the
stage year is this Granville Barker's trans-
lation of Sacha Guitry's drama, built
around the famous French master of
pantomime of the thirties. Written with
poetry, insight and distinction. Famous
characters of the period, including Marie
Duplesis, the "Lady of the Camelias,"
Armand Duval, Victor Hugo and George
Sand, appear in the drama. Superbly,
staged by Mr. Belasco, with all his old
uncanny stage craft, and splendidly acted
by Mr. Atwill, Elsie Machaye, Hubert
Druce, Morgan Farley, John L. Shine,
Rose Coghlan and an altogether perfect
cast.

Bijou. — "The Skin Game." A new and
cidedly interesting drama by John Gals-
worthy. One of the real things of the dra-
matic season. A study in class strife which
many critics lock upon as a miniature
study of the late war, will absorb you.
Very well played.

Booth. — "The Green Goddess," with
George Arliss. William Archer's adroit
melodrama, revolving around a merciless
rajah of a mythical land in the mountains
north of India and an accident which
drops two Englishmen and an English
woman from an aeroplane into his power.
Finely staged and played.

Casino. — "Honeydew." Pleasant music-
al entertainment with charming score by
Efrem Zimbalist, the violinist. Mile. Mar-
guerite and Frank Gill score with their
dancing.

Central. — "Afgar." Oriental extrava-
ganza featuring Delysia, fresh from Lon-
don and Paris. Hide your blushes before
you go to this. Delysia has a certain
naughty piquancy. The chorus is costumed
in special Paul Poiret creations.

Century Promenade. — New York's New-
est dinner and midnight entertainment,
"The Century Review" and "The Mid-
night Rounders." Colorful girl shows for
the tired business man. A delightful place
to eat.

Cohan & Harris. — "Welcome Stranger,"
Aaron Hoffman's story of a Shylock in a
New England town. Presents the battle
of Jew and Gentile in a way that the He-
brew gets much the best of it, teaching a
whole town kindliness and religious tol-
eration. George Sidney is excellent as the
twentieth century Shylock.

Forty-eighth Street. — "The Broken
Wing." A lively and well worked out
melodrama of adventure below the Rio
Grande. The opus of an aviator who falls
in Mexico, thereby losing his memory and
his heart, the latter to a dusky senorita.
Full of excitement and possessing a well-
done characterization by Aphonse Ethier.

Forty-fourth Street. — D. W. Griffith's
master-production of the rural melo-
drama, " 'Way Down East." Splendid in
many ways, with many moving moments
and the biggest — and most thrilling — cli-
max since the ride of the clansmen in
"The Birth of a Nation."

Garrick. — "Heartbreak House." The
world premiere of George Bernard Shaw's
newest dramatic comment upon world af-
fairs. Talky possibly, but flashing with
brilliant wit and decidedly interesting.
Very well presented by the Theater Guild.

Fulton. — "Enter, Madame." The best
thing — dramatically speaking — in New
York at the present moment ; a vivid study
in artistic temperament ; the story of a
butterfly opera singer. Gilda Varesi strikes
fire in this role and gives a superb per-
formance. Norman Trevor plays her hus-
band admirably.

Hippodrome. — "Good Times." Another
big and picturesque Hippodrome spectacle.
Nothing like it anywhere else on earth.
Plenty of entertainment.

Liberty. — "Lady Billy," with Mitzi. A
musical comedy of charm and humor. The
cute and vivacious little Mitzi at her best.
Pleasant music.

Longacre. — "The Champion," with Grant
Mitchell. A lively farce comedy of an
aristocratic British family's returned
prodigal, who turned out to be a pugilist.
Fairly amusing. Ann Andrews lends a
distinct beauty to the proceedings.

Lyric. — "Her Family Tree," with Nora
Bayes. Brisk and tuneful musical show,
with the very forceful Nora. Attractive
cast, chorus and costuming.

Nciv Amsterdam Roof, — Ziegfeld 9
o'clock and midnight revues. Colorful en-
tertainments unlike anything to be found
anywhere else.

Nora Baycs. — "Three Live Ghosts."
Delightful comedy of three soldiers, re-
ported killed in Flanders, who return
home to find surprising problems await-
ing them. Adapted by Frederic S. Isham
from his own novel. Splendidly played by
Beryl Mercer, Charles McXaughton, Stew-
art Wilson, Cyril Chadwick and Charles
Dalton.

Palace.— Keith Vaudeville. The home
of America's best variety bills and the
foremost music hall in the world. Always
an attractive vaudeville bill.

Park. — "Erminie." An elaborate revival
of the old-time musical comedy, with
Frances Wilson and DeWolf Hopper as
the principal attractions.

Plymouth.— "Little Old New York."
Rida Johnson Young's delightful but fra-
gile little romance of New York in 1810,
with John Jacob Astor, Cornelius Vander-
bilt, Peter Delmonico and Washington
Irving among its characters. Genevieve
Tobin runs away with the piece — and
scores one of the biggest personal suc-
cesses of many seasons. Here is a Maude
Adams in the making.

Punch and Judy. — "Ratio's Wild Oat,"
with Roland Young. Light and frothy
comedy in Clare Kummer's typical sketchy
style. The story of a young man who
wants to do Hamlet and what comes of
(Continued on ,

LAS£

OTION pICTU

MAGAZINE

HELENE CHADWICK - CLARA WILLIAMS • LOUISE

& _

FAZENDA - RUTH ROLAND.

RUTH STONEHQUSE * MAY ALLISON

In "The Wonder Book for Writers" which we will send to you ABSOLUTELY FREE, these famous Movie
Stars point out the easiest way to turn your ideas into stories and photoplays and become a successful writer.

Millions oF People Can AVrite
Stories and Photoplays and

Dori t Know It /

THIS is the startling assertion re-
cently made by E. B. Davison of
New York, one of the highest paid
writers in the world. Is his astonish-
ing statement true? Can it be possible
there are countless thousands of people
yearning to write, who really can andsimply
haven't found it out? Well, come to think of
it.most anybody can tell a story. Why can't
most anybody write a story? Why is writ-
ing supposed to be a rare gift that few pos-
sess? Isn't this only another of the Mis-
taken Ideas the past has handed down to
us? Yesterday nobody dreamed man
could fly. To-day he dives like a swallow
ten thousand feet
above the earth and
laughs down at the
tiny mortal atoms
of his fellow -men
below! So Yester-
day's "impossibil-
ity" is a reality to-
day.

LETTERS LIKE THIS
ARE POURING IN !

"I wouldn't take a million dol-
lars for it. "--MARY WATSON.
Fairmont. W. Va.

"It is worth its weight in gold,"
--G. MOCKWITZ. New Castle.
Wash.

"Ever; obstacle that menaces
•access can be mastered through
this simple hut thorough sys-
tem. "--MRS. OLIVE MICUAUX.

Cbarleroi, Pa.

"It contains a gold mine of
valuable suggestions. " -- LENA

BAILEY. Mt. Vernon. 111.

"I can only say that I am amazed
that it is possible to set forth the
principles of short story and
photoplay writing in such a clear,
concise manner." -- GORDON
MATHEWS. Montreal, Can.

"I received your Irving System
some time ago. It Is the most
remarkable thing I have ever
Been. Mr. Irving certainly has
made story and play writing
amazingly simple and easy."--
ALFRED HORTO. Niagara
Palls, n. Y.

"Of all the compositions I have
read on this subject, 1 find yours
the most helpful to aspiring
authors." - HAZEL SIMPSON
N A Y L O R , Literary Editor,
Motion Picture Magazine.

"With this volume betore him,
the veriest novice should be able
to build stories or photoplays that
will find a ready market. The best
treatise of its kind I have en-
countered in 24 years of news-
paper and literary work." --
H. PIERCE WELLER. Man-
aging Editor. The Binghamp-
ton Press.

"When T first saw your ad I
was working in a shop for $30 a
week. Always having worked
with my hands, I doubted my
ability to make money with my
brain. So it was with much skep-
ticism that 1 sent for your Easy
Method of Writing. When the
System arrived. I carefully stud-
led it evenings after work. Within
a month I had completed two
plays, one of which sold for $600.
the other for $460. I unhesitat-
ingly say that I owe it all to ire
Irving System. "-HELEN KIN-
DON, Atlantic City, N. J.

a mont

/plays, o
the othi
Ingly sa
Irving £
DON, A

"The time will
come," writes the same
authority, "when mil-
lions of people will be
writers — there will be
countless thousands of
playrights, novelists,
scenario, magazine and
newspaper writers —
they are coming, com-
ing—a whole new world
of them! " And do you
know what these writ-
ers-to-be are doing
now? Why, they are
the men — armies of
them — young and
old, now doing mere
clerical work, in of-
fices, keeping books,
selling merchandise, or
even driving trucks,
running elevators,
street cars, waiting on
tables, working at bar-
ber chairs, following
the plow, or teaching
schools in the rural
districts; and women,
young and old, by
scores, now pounding
typewriters, or stand-
ing behind counters, or
running spindles in
* — Tories, bending over

sewing machines, or doing housework. Yes —
you may laugh — but these are The Writers of
Tomorrow.

BUT two things are essential in order to become
a writer. First, to learn the ordinary principles
of writing. Second, to learn to exercise your fac-
ulty of Thinking. By exercising a thing you develop
it. Your Imagination is something like your right
arm. The more you use it the stronger it gets.
The principles of writing are no more complex than
the principles of spelling, arithmetic, or any other
simple thing that anybody knows. Writers learn
to piece together a story as easily as a child sets up
a miniature house with his toy blocks. It is amaz-
ingly easy after the mind grasps the simple "know
how." A little study, a little patience, a little con-
fidence, and the thing that looks hard often turns
out to be just as easy as it seemed difficult.

LISTEN! A wonderful FREE book has recently
• been written on this very subject — a book that
1 tells all about the .Irving System — a Startling
New Easy Method of Writing Stories and Photo-
plays. This amazing book, called " The Wonder Book
for Writers," shows how easily stories and plays are
conceived, written, perfected, sold. How many
who don't dream they can write, suddenly find it
out. How the Scenario Kings and the Story Queens
live and work. How bright men and women, with-
out any special experience, learn to their own
amazement that their simplest Ideas may furnish
brilliant plots for Plays and Stories. How one's

This surprising book is ABSOLUTELY FREE.
No charge. No obligation. YOUR copy is waiting
for you. Write for it NOW. GET IT. IT'S
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turn their spare hours into cash!

Get your letter in the mail before you sleep to-
night. Who knows — it may mean for you the
Dawn of a New To-morrow! Just address The
Authors' Press, Dept. 177, Auburn, New York.

ffis Bool^FREE

/"" WRITERS

I THE AUTHORS' PRESS, Dept. 177. Auburn. N. T.

I Send me ABSOLUTELY FREE "The Wonder Book for
J Writers,'* This does not obligate me io any way.

I Name —

I Address i

I City and State — ,..—-— ,

PAG

J -^>3jiiiiiiiiiifC3tiiiiiiiiiitc3iiiiiiiiiiiicaiiiiiiiiiJiicaiiiiiiiiiiiic3iitiMiiiiiic3iiiiiiiiiiiicatiJiiiiiiiiicaitiiiiiiiiiic3tfiiTiiiiiiieaiiiiiiiiiiiicaiiiiiiiiitiic3iiitiiniMic-«

Stag*

Portraits of Your
Favorites

TWENTY-FOUR LEADING PLAYERS

1 What is a home without pictures, especially of those one likes or |

| admires? How they brighten up bare walls and lend a touch of human jg

3 sympathy, alike to the homes of the rich and poor ! I

And what could better serve the purpose of decoration for the |

3 homes of motion picture enthusiasts than portraits of the great film |

I stars, who have become world-wide famous? §

The publishers of the three leading motion picture monthlies, the §

| Motion Picture Magazine, Motion Picture Classic and Shad- |

= owland have accordingly prepared at great expense, especially for §

| their subscribers, an unusually fine set of portraits of twenty-four of fj

| the leading players. I

These portraits are 5^"x8" in size, just right for framing, printed |

| in rich brown tones by rotogravure, a process especially adapted to por- |

| trait reproductions, and are artistic, accurate and high-grade in every |

| way. |

♦5 You will like these portraits, you will enjoy picking out your |i

| favorites. You will delight in framing them to be hung where you I
| and your friends may see them often.

Mary Pickford
Marguerite Clark
Douglas Fairbanks
Charlie Chaplin
William S. Hart
Wallace Reid
Pearl White
Anita Stewart

LIST OF SUBJECTS

Theda Bara
Francis X. Bushman
Earle Williams
William Farnum
Charles Ray
Norma Talmadge
Constance Talmadge
Mary Miles Minter

Clara Kimball Young
Alice Joyce
Vivian Martin
Pauline Frederick
Billie Burke
Madge Kennedy
Elsie Ferguson
Tom Moore

These portraits are not for sale. They can be secured only by sub-
scribing to the Motion Picture Magazine, Motion Picture
Classic or Shadowland for one year, and then they will be sent free.

^ ._ — ._ --».. COUPON — ----- -------- -----|

Date S

I SUBSCRIPTION PRICES: BREWSTER PUBLICATIONS, INC.

175 Duffield Street, Brooklyn, N. Y.

U. S. Can. For. ,. ,-. „ ... , n

3 Magazine $2.50 $3.00 $3.50 Gentlemen: Kindly enter my subscription to the |

§ Classic 3.00 360 4 00 MOTION PICTURE MAGAZINE) =

= «iTJ ii a tin 1Z Iin MOTION PICTURE CLASSIC [tor one year. Also =

= Shadowland 3.60 4.00 4.50 SHADOWLAND \ S

3 All Three 8.50 10.00 11.60 please send me al once a set of the twenty-four players' =

p.y.ui. ;. portraits. Enclosed find $ in payment.

United States Funds ,. 3

g N ante =

Adilress H

•Miiiiiimmuiiii cumin uiiiiiiiiiiioiiihiiiiiimiiiiiiiiniiu tiiinn cu iiiiuiiiiiiminu miiioiiiiii nnnin c$.

Afi£

Plays Tkat Are Wortk
While

(Continued from page 6)

his ambition. Replete with fancifully hu-
morous lines. Excellently done by Mr.
Young. Lotus Robb, Dore Davidson and
J. M. Kerrigan.

Sclwyn. — "Tickle Me." An Arthur
Hammerstein early autumn show, with the
amusing Frank Tinney starred. Consid-
erable fun, some tuneful music and a very
personable chorus. Likewise gorgeous
costuming.

Selwyn. — The Provincetown Players in
Eugene O'Neill's "The Emperor Jones."
Special matinees only. Everyone should
see O'Neill's remarkable study in primi-
tive fear. Very well acted.

Shubert. — "Greenwich Village Follies
of 1920." Gorgeous and beautiful, as typi-
cal of John Murray Anderson produc-
tions. Here is a musical entertainment
with imagination and charm. James Rey-
nolds has created some remarkable scenes
and costumes and the whole ensemble is
vivid and colorful.

Thirty-ninth Street. — "Samson and De-
lilah," with Ben-Ami. A fairly interesting
play given the breath of life by the most
promising new figure on the stage since
Jack Barrymore became John Barrymore.
Ben-Ami is making his step from the
Yiddish stage and his first appearance in
English. His debut has been sensational.
Ben-Ami is given excellent support by
Pauline Lord and an admirable bit is con-
tributed by Edward G. Robinson.

Times Square Theater. — "The Mirage,"
with Florence Reed. The first offering in
Broadway's newest theater. Edgar Sel-
wyn's drama of New York's easiest way :
the tale of a country girl who comes to the
white lights and forgets her ideals. Miss
Reed plays the girl and prominent in the
cast are Alan Dinehart, Malcolm Will-
iams and Florence Nash.

Vandcrbilt. — "Irene." Now on its
'steenth season and likely to run on for-
ever. Charming and pretty musical com-
edy with an appealing story. Patti Har-
rold, daughter of Orville Harrold, is now
the Irene, and she is delight fid. You will
hear more of her.

Winter Garden. — "The Passing Show of
1921." Typical Winter Garden entertain-
ment.

On Tour.

"Jimmie." The pert little Frances
White's first starring vehicle and a rather
lame musical entertainment. .Miss White
introduces several typical gamin numbers
and her surrounding company includes
lien Welch and Harry Delf.

"Mecca." A gorgeous and elaborately
colorful "mosaic in music and mime" of
ancient Egypt along the lines of "Chu
Chin Chow." "Mecca" achieves several
rarely beautiful moments in the ballet in-
terludes created by Michel Fokine. A
huge cast and fourteen scenes.

"Kissing Time." Slender musical enter-
tainment with William Norris and Edith
Taliaferro featured.

Loew's N. V. and Lociv's American
Roof. — Photoplays ; first runs. Daily pro-
gram.

Loew's Metropolitan, Brooklyn. — Fea-
ture photoplays and vaudeville.

( 'apitol. — Photoplay features plus a de
luxe program. Superb theater.

Rh'oli. — De luxe photoplays with full
symphony orchestra. Weekly program.

l\ialto. — Photoplays supreme. Program
changes every week.

Strand. — Select first-run photoplays.
Program changes every week.

AGENTS WANTED

Agent* to travel by Automobile to introduce our

fast-selling, popular priced household necessities.
The greatest line on earth. Make .$10 a day. Com-
plete Outfit and Automobile furnished Free to
workers. Write for exclusive territory. American
Products Co., 310." American Bldg., Cincinnati, O.

Agents — $40-$100 a Week — Free Samples. Gold
Sign Betters any one can put on store windows.
Big demand. Liberal offer to general agents.
Metallic Letter Co., 431 F. N. Clark St., Chicago.

BEAUTY CULTURE

Beauty Culture Taught by Correspondence

thoroughly and practically. Graduates earning
large incomes. Tuition moderate. Money refunded
if course proves unsatisfactory. Paris Institute of
Hearty Culture, Oil Garden Street. Holioken, N. J.

BEAUTY PREPARATIONS

Superfluous Hair Permanently Destroyed with
roots. Painless and Harmless. No electricity nor

chemicals. Postpaid, $1.00 a Package. NUART
Laboratories, Dept. M, South Orange. X. J.

COINS AND STAMPS

COLLECT OLD COINS for pleasure and profit.
Send only lUc. Get large old U. S. Copper cent,
nearly size of half-dollar, and Illustrated coin cata-
logue" Send now. B. Max Mehl, Coin Dealer, Dept.
M, Mehl Buildirg, Fort Worth, Texas.

OLD MONEY WANTED— $2 to $500 each paid
for hundreds of Coins dated before 1895. Keep All
Old Money. Send 10c for New Illustrated Coin
Value Book, size 4xB. Ton may have coins worth
large premiums. Get Posted. Clarke Coin Co.,
Hex 90, Lelloy, N. Y.

FARM LANDS

Farmseekers! ! A rare opportunity to get a farm
home with small down payment, easy terms. Hard-
wood land in Antrim, Kalkaska and Otsego Coun-
ties. Mich, ('lose to markets, schools, railroad;
at only $15 to $35 per A. Write for big free book-
let. SW1GAKT. A-1263 First National Bank Bldg.,
Chicago, 111.

Florida Oranges Are Most Profitable as well as
most delicious. Grow your own in a land of sun-
shine, away from winter blizzards and coal bills.
Money you'll not miss will buy you laud for a grove
in a high, rolling, lake-jewelled land of many
golden groves. If yon mean business, write today
for Hook of Facts and Photos. Lake- County Land
Owners' Association. 315 Arbor Avenue. Fruitland
Park, Florida.

FEMALE HELP WANTED

How to Get Into the Chorus — Publication con-
taining detailed information ; prepaid, $1.00. The
Maldon Company, Box 32iii:, D Street Station,
Washington, D. C.

WOMEN to Sew. Goods sent prepaid to your door ;
plain sewing: steady work; no canvassing. Send
stamped envelope for prices paid. Universal Com-
pany, Dept. 45, Philadelphia, Pennsylvania.

At Once — Five bright, capable ladies to travel,
demonstrate and sell dealers; $40.00 to $75.00 per
week, railroad fare paid. Write at once. Good-
rich Drug Co., Dept. 60, Omaha, Nebr.

FILMS DEVELOPED

Mail Us 30c with any size film for development and
six velvet prints. Or send six negatives any size
and 20c for six prints. Or send 40c for one 8x10
mounted enlargement. Prompt, perfect service.
Itoanokc Photo Finishing Co.. 200 Bell Ave.,
Uoanoke, Va.

FOR THE HAIR

Dandruff removed quickly, pleasantly, completely.
Healthy scalp. For men. women, children. Won-
derful benefit. Buy Kotalko at druggist's ; or
proof box mailed, 10 cents, postpaid. Kotalko
Offices, BA-181, Station K, New York.

FOR THE LAME

GAMES AND ENTERTAINMENTS

PLAYS, VAUDEVILLE ACTS, Monologues, Dia-
logs, Recitations. Pageants, Musical Readings,
Special Entertainments, Tableaux, Drills, Minstrel
Jokes. Make-up Goods. Large Catalogue Free. T. S.
Denison & Co., Dept. 62, Chicago.

HELP WANTED— MALE

Government Clerks needed badly (men-women),
$1600-.$2300. Permanent. Few to travel. Write
Mr. Ozment, Former Government Examiner, 199,

St. Loins. Mo.

Be a Detective — Excellent opportunity ; good pay ;
travel. Write C. T. Ludwig, 556 Westover Bldg.,
Kansas City, Mo.

Men Wanted for Detective Work. Experience
unnecessary. Write J. Ganor. Former Govt. De-
tective. 130, St. Louis, Mo.

HOME STUDY

Shorthand — Learn complete system, few evenings
I home) then acquire speed pleasant practice. Bro-
chure free. Save money, time, increase your effi-
ciency, earnings. King institute, ER-181, Station
1'. New York.

JEWELRY, ETC.

MAIL DIRECT TO THE REFINERS any old

MOTION PICTURE BUSINESS

$35.00 Profit Nightly— Small capital starts you.
No experience needed. Our machines are used and
endorsed by government institutions. Catalog free.
Atlas Moving Picture Co., 431 Morton Bldg.,
Chicago.

NEWS CORRESPONDENCE

Earn $25 Weekly, spare time, writing for news-
papers, magazines. Experience unnecessary ; de-
tails free. Press Syndicate, 560 St. Louis, Mo.

PERSONAL

PATENTS

Patents Secured — Prompt service; avoid danger-
ous delays. Send for our "Record of Invention"
form and Free Book telling How to Obtain a Pat-
ent. Send sketch or model for examination. Pre-
liminary advice without charge. Highest references.
Write TODAY. ,L L. Jackson & Co.. J2!J Ouray
Bldg., Washington, D. C.

Inventors — Write for our free illustrated guide-
book. "How to Obtain a Patent." Send model or
sketch and description of your invention for our
opinion of its patentable nature free. Highest refer-
ences. Prompt attention. Reasonable terms. Vic-
tor J. Evans & Co., 833 Ninth, Washington, D. C.

Patents — Send for free book. Contains valuable in-
formation for inventors. Semi sketch of your in-
vention for Free Opinion of its patentable nature.
Prompt service. (Twenty years experience). Tal-
bert & TalWert. 4U1!i Talbert I'.ldg.. Washington,
I>. ('.

PHOTOGRAPHIC

Make Money with your snapshots of local interest.
Profitable spare-time work. I will show you how.
Send three negatives. A. Coonan, Box 51, Borgeu-
tieid, New Jersey.

Will send, on receipt of $1.00, dozen guaranteed
extra large Human Hair Nets, cap or fringe, any
shade. Money back if not satisfied. E. Lauber,
687 Eighth Ave., New York.

Know Yourself, Your F.-iends — Mail 15c, money
or stamps, for book containing 12 Birth Readings,
one for each month. Forowarnings, persona! ad-
vice. Illustrations and reference chart. M. Jack-
sou, 39 W. 27th St.. New York City.

PHOTOPLAYS

Stories and Photoplay Ideas Wanted by 48
companies; big pay. Details free to beginners.
Producers League, 441, St. Louis, Mo.

$1200 a Year Writing Photoplays — You can
write them. Turn your ideas into dollars. We
teach only sure method. Send for free book valu-
able information and special prize offer. Chicago
Play Coll., Box 278-B-24, Chicago.

Photoplay Plots, Short Stories, Articles, Poems,
etc.. Arranged and Typewritten in proper manu-
script form. Submit manuscript or send stamp for
rates. H. L. Hursh, Dept. 2, 123 So. Third St.,
Harrisburg, Pa.

Photoplays and Ideas Wanted for California
Producers — Also Stories, Articles, etc. Criticize
free, sell on Commission, Correspondence Course or
Experience unnecessary if you have Ideas. Plot
Chart Free. Submit MSS. or write. Harvard Com-
pany, 220 Italian-American Bank Bldg., San Fran-
cisco.

POEMS WANTED

Poems Wanted for publication. Cash paid for
those available. Send one short poem today for
free examination. Idyl Pub. Co., l.s;i X. Clark St..
Suite 220, Chicago.

SCENARIOS WANTED

Exchange Plots For $$ — Photoplay ideas accepted
any form; revised, typed, published, copyright' 1 *!.
v 'old. Advice free. Universal Scenario Corp.. -<'*-
YVeytt-rn Mutual Life Bldg., Los Angeles.

SCIENTIFIC

SHORTHAND

Shorthand — Learn complete system, few evenings
(home), then acquire speed, pleasant practice.
Brochure free. Save money, time, increase your
efficiency, earnings. King Institute, Elt-lsi. Sta-
tion F, New York.

STORIES WANTED

Earn $25 Weekly, spare time, writing for news-
papers, magazines. Experience unnecessary; de-
tails free. Press Syndicate, 500 St. Louis, Mo.

Stories, Poems, Plays, etc., arc wanted for pub-
lication. Good ideas bring big money. Submit
M.MS, or write Literary Bureau. 134 Hannibal, Mo.

VAUDEVILLE

GET ON THE STAGE. 1 tell you how ! Send Go
postage for instructive Stage Hook and particulars.
1!. LaDellc, Box 557, Los Angeles, Calif.

KA6

rriON piCTUBF
MOOAZINC L

Great silk and silk blouse manufacturers
tell how silk should be laundered

"Wash silks this way"
say Belding Bros.

"As makers of a delicate prod-
uct like silk we are much con-
cerned with the treatment it
gets after it leaves our hands.

"Our wash silk fabrics can,
of course, be laundered as
safely and as often as cotton,
if proper care is exercised.

"We have found Lux to be
ideal for washing silks because
of its great purity and gen-
tleness. There is nothing in it
that could attack the delicate
sLk fibre.

"Another point in favor of
Lux is that its thick lather
eliminates all rubbing of the
fabric <Jn the washboard or
between the hands. This
means, of course, that the silk
does not 'fuzz up,' and that the
threads will not pull or split.

"We find Lux equally
successful on our white or
colored silks.

"We are glad to see the
publicity given by Lux to the
safe way of laundering silks."

BELDING BROS.

For years, Belding Brothers have been making silks.
They make millions of yards each year, and they make
all kinds — from the frailest georgettes and chiffons to
the sturdy satins, taffetas and crepes de Chine. The
panel to the left gives Belding Brothers' interesting letter
on the proper way to launder silks.
You will find blouses made by Max Held, Inc., in most
of the smart specialty shops and good department stores
throughout the country. Read why this famous maker
wants you to wash his blouses with Lux.

THESE two great merchants, by the very nature of
their business, were compelled to find the proper
way to launder silk — the way that would be best
and safest. Incorrect methods mean a heavy money loss
to them just as incorrect methods mean a heavy loss to
you in the wear and appearance of your fine silk things.
Keep the detailed directions below, which tell you
just exactly how to wash your silks — the way recom-
mended by one of the largest silk manufacturers in the
world, and by a man whose silk blouses are worn by
thousands of women each year. Lever Bros. Co.,
Cambridge, Mass.

Launder your silk things this gentle, safe way

Whisk one tablespoonful of Lux into
a thick lather in half a bowlful of very
hot water. Add cold water till luke-
warm. Dip the garment up and
down, pressing suds repeatedly

through soiled spots. Rinse in 3
lukewarm waters. Squeeze water out
— do not luring. Roll in towel; when
nearly dry, press with warm iron —
never a hot one.

Colored silks — If you are not sure a color is fast
try to set it this way. Use one-half cup of vinegar
to a gallon of cold water and soak for two hours.
Press silks on the wrong side while they are still
damp. Sprinkling a silk will make it look spotty,
and this appearance can only be overcome by re-
laundering.

For all fine
laundering

Wont shrink woolens

Launders -silks -laces

All fine fabrics

The maker of a

million blouses tells

how to launder silk

"Once in a while," writes
Max Held, Inc., "a blouse is
returned to us as unsatisfac-
tory. We are sure of the
materials in our blouses, and
of our workmanship, but we
are not sure of the treatment
the blouse gets after the
owner has it.

"If women would wash
their blouses with Lux, 90
per cent of our complaints
would disappear.

"Frayed, pulled threads may
mean, not a poor quality of silk,
but a blouse rubbed too hard
to get it clean. Lux makes
hard rubbing unnecessary.

"Recently a silk blouse
was returned to us which had
'gone' under the arm. It had
been put away while badly
stained with perspiration. The
perspiration acids had eaten
the silk, and harsh soap and
rubbing completed the de-
struction. If that blouse had
been washed with Lux as soon
as it was soiled we would not
have had the complaint.

"For our own protection,
we recommend the use of
Lux in washing silks."

MAX HELD, Inc.

A hot iron should never be used on silk. It will
cause the silk to split. It also makes it stiff and
papery, and will yellow it. Press first the sleeves of
a blouse, next the fronts and then the back.

Jersey and georgette crepe should be stretched
to shape before they dry and should also be shaped
as you iron.

Won't injure anything pure water alone won't harm

<p —

LAG£

CONSTANCE BINNEY

HUHBBBBIKiflHIKHMVNnnH

Photograph by Nicholas Muray

ERICH
VON STROHEIM

Mr. von Stroheim is per-
haps best known as a di-
rector. And that state-
ment is no disparagement
to his acting, for he may
always be expected to
give a finished perform-
ance as the sophisticated
man of the Continent. His
new release is to be
"Foolish Wives"

Photograph by
Jack Freulich

DOUGLAS
FAIRBANKS

In the early spring Mr.
Fairbanks will again sail
for Europe . . . Mary
Pickford Fairbanks by his.
side, of course. And this
time Doug is going to
make pictures, so you
may expect to see him
scaling Westminster Ab-
bey and jumping London
Bridge in the near
future

Photograph by
Woodbury, L. A.

BEBE DANIELS

Bebe, of the black eyes and dusky tresses, finds that stardom means hard work and plenty of it. Immediately

upon I'.er completion of "Just Drakes," she started on "Two Weeks With Pay" i

\ i

Photograph by Nicholas Muray

DORIS KENYON

The stage, bedroom farces and twin beds have no place in the life of Doris just now. She is busily devoting
all her time in picture-making, "Get Rich Quick Wallingford," a new Cosmopolitan production, in particular

Photograph by Mel.^>urne Spurr, L. A.

ELSIE FERGUSON

Elsie Ferguson — even a picture of her — always inspires you to write verse. However, let it suffice to say
she is now playing 'in the screen version of her last season's stage success, "Sacred and Profane Love"

Photograph by Alfred Cheney Johnston

BETTY HILLBURN

Betty has the distinction of being the new D. W. Griffith discovery, and she is at present playing the waif in his
new Lime house tale. Who knows her potentialities?

Journey's End

Posed by Editk Roberts in trie

new Universal production

"The Fire Cat"

La££

The Author and the Cinema

ie Cinema \i

B9 1

EDITOR'S NOTE: — W. Somerset Maugham, who is ad-
mittedly one of our greatest contemporary novelists,
recently contracted to give his brain children to the
cinema. Therefore, it is interesting, to note what he
writes of his latest endeavor.

NOTHING is impossible on
the screen.
The photoplay permits
a breadth of expression, a
true portrayal of dramatic incident,
a faithful painting of the most gor-
geous landscape that affords the
maker of film drama all the scope
offered by the novel and stage play
combined. To a writer of sincerity
and imagination this well-nigh un-
limited scope of the film is a lure that
in most cases has been irresistible.

It is for this reason and because of
the opportunity to present one's work
to the millions of the globe, as no
novel or stage play could do, that so
many of the most noteworthy names
of literature now are linked with the
photodrama. And it is to great nov-
elists and dramatists that the screen
must look for its true and artistic
development. They bring to this
newest of arts a freshness of view-
point, a vision and understanding of
humanity and of mankind's psy-
chology, with a trained ability to ex-
press that which they know.

It has been in the story that motion

pictures have been slow in develop-
ing. In every other phase the screen
has come near perfection. But all
too many of the stories have been
comparatively weak, with an appal-
ling imitation of that which has gone
before. New blood that will seek
out new channels and that brings to
the screen the knowledge of work
done in other forms of story-creating
is the one remedy for this ailing con-
dition.

Only by giving the author a free
hand can the producer get the new
angle he needs. Let the author make
mistakes, if mistakes are inevitable,
for it is only by mistakes that the
author can learn. No good can come
of it if the author is bound by con-
ventions that have developed in the
past. The technique of the screen
must be learned like the technique of
any other art. But the reward will
come inevitably when these writers
produce better results than have ever
been produced before.

Let the producers have confidence
in us and we will eventually justify
their confidence many fold.

Rickard th<
Tenth

Photograph by Victor George, N Y.

Dick Barthelmess' appearance
does not belie him. Inner
things have gone to the mold-
ing of his broad, fine brow;
his thoughtful eyes; the clear,
delightful "black of his hair
. . , and his hands. He looks
well made and finely textured,
and good

T was rather disconcerting
to me to have luncheon
with Dick Barthelmess
and his mother, because
I was there for the express
purpose of listening to Dick
talk, and I preferred to listen
to his mother talk. This may
incite protest and savor of the
ungracious, but . . . there was such a wide disparitv in
their subject-matter. Dick talked about nothing but other
people, and Dick's mother (after the immemorial manner
of mothers) talked of nothing but Dick. And there you
are ! And there I was — in something of a quandary.

Dick has a fine flavor — as indicated by the "other people."
He is quite naively reticent on self, moderately self-depre-
ciatory and genuinely reserved. His appearance does not
(T\ belie him. Inner things have gone to the molding of his

LAfiC

broad, fine brow ; his thought-
ful eyes ; the clear, delightful
black of his hair ." . . and his
hands. He looks well made
and finely textured, and good.
His mother said he had
been "a good little boy."

Dick said, "Oh, mother!"
He said it as a protest. Then
he added, "Remember this,"
and "remember that," . . .
calling up from mud-pie days
. .. . if there ever were mud-
pie days . . . bygone misde-
meanors in order to obliterate
or to gainsay the stigma she
had placed upon him of being
"a good little boy." But
Mother couldn't seem to re-
member any of the misde-
meanors. Mothers have wo-
fully poor memories . . .
sometimes. And sometimes
they are accurate and prolific.
This mother will never re-
member anything but the
sweet, fine things of Dick. It
is very charrning, and as it
should be.

You remember in " 'Way
Down East" the bit in which
David dances with Kate
Bruce, his screen mother?
The manner in which he did
it, bringing tears to many,
where the more dramatic mo-
ments had not. That was not
acting. It was reality. It was
so real we all felt it, tenderly,
in our fibers. It was merely
the innate graciousness of the
real Dick, clearly, for the mo-
ment, asserting itself.

But I am disobeying orders.
One likes to digress about
Dick.
In the first instance, Mother
Barthelmess said to me, rather plaintively, "I wish you
could say something about Dick's father. Almost no men-
tion has ever been made of the fact. As a matter of fact,
Dick is the tenth Bartelemy. (I hope it was tenth, but if it
wasn't tenth, then it was ninth ; I'm very bad at lineal sta-
tistics.) His father was of French stock, and for nine gen-
erations the sons of the house of Bartelemy were all chris-
tened Richard. Hence, Richard the Tenth, with the angli-
cizing of Bartelemy into Barthelmess as the sole difference.
On his mother's side, of which she did not speak so fully,
Dick is, I believe, Dutch. This seems to me to be a fine sort
of combination. The sensitized, facile French blood with
the sturdier, more phlegmatic Dutch blood to counterbal-
ance. I haven't given Dick half the lineal prestige probably
due him. This is because I listened to both my host and
hostess at the l